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June 26, 2019

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Updated on 11/12/2020

‍ Nine Days by Toni Jordan is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

• Main Characters
• Themes, Ideas and Values
• Literary Devices
• Essay Topics  

Essay Topic Breakdown

1. summary  .

Jordan’s novel traces the tumultuous lives of the Westaway family and their neighbours through four generations as they struggle through World War II (1939-45), the postwar period of the late 1940s and 50s, the 1990s and the early 2000s. Composed of nine chapters and subsequently nine unique perspectives of life, their family home in Rowena Parade, Richmond, becomes the focal point for Jordan’s exploration of femininity, masculinity, family and Australian society. ‍

2. Main Characters

Kip westaway.

'Mr. Husting always says first impressions count' (p. 5)

'Mr. Husting holds his other hand out flat and instead of an apple there’s a shilling.' (p. 6)

'I own the lanes, mostly. I know the web of them, every lane in Richmond.' (p. 21)

'When they put me in the grave, I know what it’ll say on the stone, if I get a stone, if they don’t bury me like a stray cat at the tip' (p. 29)

'I didn’t say goodbye to Dad! On account of a book' (p. 158)

'This photo won’t be out of my sight from now on. You’ve given me my sister back, Alec.' (p. 260)

Francis Westaway

'THE SHADOW CANNOT BE DEFEATED!' (p. 145)

'The toughest gang in Richmond! And they want me, Francis Westaway!' (p. 155)

'I see a purple jewel hanging on a gold chain. It’s a beaut, the prettiest thing I’ve ever seen…There’s no way I’m sharing this. It’s mine.' (p. 174)

'Do you understand how sensitive a reputation is? It’s up to me to be respectable. I’m the eldest. It’s my responsibility.' (p. 200)  

Connie Westaway

'Ma sitting with her dress lifted up to her face, Connie on her knees beside her, holding her arms, cooing soft like Ma is a baby.' (Kip, p. 35)

'We women do what’s expected. You [men] can do almost anything you care to think of.' (p. 280)

'It seems that all my life I’ve had nothing I’ve desired and I’ve given up having desire at all. Now I know what it feels like to want and I will give anything to have it' (p. 285)

'I thought we’d have more time than this. We’ve only just made it.' (p. 290)  

Jean Westaway

'Those moments, when [Kip] reminds me of Tom. I have to leave the room. The fury rises up my legs and up my body like a scream and it’s all I can do not to let it out.' (p. 212)

'We all die alone' (p. 212)

'This is not how I imagined it to be. Children. Mothering.' (p. 212)

'And for things like this, for girls like Connie and saving her future, there is a respectable woman who runs a business in Victoria Street' (pp. 221-222)

'I’d never of done it with boys but Connie, she was different.' (p. 239)

'we’re respectable people.' (p. 218)

Tom Westaway

‘Kipper’s old man…dropped off the tram in Swan Street somewhat worse for a whiskey or three and hit his head. Blam, splashed his brains all over the road. A sad end.’ (Pike, p. 24)

‘As a girl I had plenty of suitors, but none like Tom. Best behaviour in front of my father, children all brought up in the church by him.’ (p. 212)

Stanzi Westaway

‘The parcel is for Stanzi: inside is an old-fashioned coin, dull silver, with a king’s head on one side. It has a silver chain threaded through a hole in the middle. Stanzi looks like she’s about to cry.’ (Alec, p. 254)

‘She doesn’t mean to be hurtful. She is worries for me, that’s all…if she really thought I was in terrible trouble, she would be gentler.’ (Charlotte about Stanzi, p. 126)

‘the oblivious insouciance of the entitled’ (p. 51)

Charlotte Westaway

‘I say the question over and over: should I keep the baby?’ (p. 142)

‘The herbs are evidence of an understanding of our place in the universe…an acknowledgement of the delicate balance in our bodies…’ (p. 116)

‘There was only one place I could go: my sister’s’ (p. 124)

‘They contain all the hopes of the human spirit, all the refusal to quit, to keep believing people can feel better’ (p. 116)  

Alec Westaway

‘Yet here I am. Away from home in a world of strangers. Alone. Forgotten.’ (p. 241)

‘This waiting for my life to start, it’s driving me mental.’ (p. 244)

‘I don’t sketch. Instead I concentrate on the scene the scene in front of me so I can remember it later.’ (p. 251)

Libby Westaway

‘All the things I remember, everything about my life, our family, my childhood: it’s all real because Libby knows it too.’ (Alec, p. 273)

Jack Husting

‘I can see both sides.’ (p. 80)

‘Just let me kiss you, Connie. I’d die a happy man.’ (p. 284)

Ava and Sylvester Husting

‘If we have to send boys to fight…it’s layabout boys with no responsibilities, the Kip Westaways of the world, who ought to be going.’ (Ava, p. 102)

‘That shilling. Our little secret. Gentlemen’s honour.’ (Sylvester, p. 8)

Annabel Crouch

‘You’re a good girl, Annabel.’ (Mr. Crouch, p. 177)

‘I’d like to compliment their dresses, but I don’t know what to say.’ (p. 190)

‘He is killing himself, I know that. I won’t have him for much longer.’ (Annabel, p. 207)

‘No mother, no brothers. Working your youth away, looking after an old man.’ (p. 179)

‍ 3. Themes, Ideas and Values

‘Family house, family suburb, family man’ (Charlotte about Kip, p. 140)

‘Stuck here…looking after your old man. You should have a family of your own by now.’ (Mr. crouch to Annabel, pp. 178-179)

The theme of family is a recurring one that develops over time. Jordan’s inclusion of other families such as the Crouches, the Churches, the McCarthys and the Stewarts stands in contrast to the Westaways. The juxtaposition of family life in this way allows the reader to see how such factors like wealth, class and reputation can affect the family dynamic especially within the war period. The idea of family is strained by the pressures of war because with many families' sons and husbands away it left the other family members to adopt other roles - not only physically, but the conventional emotional roles of traditional families of the time are redistributed, specifically within the Westaway household. Jordan postulates that the role family plays in providing emotional/physical support is of far greater importance than the necessity to abide by society's idea of what family should look like.  

Women and Reproductive Rights

‘I tell her about shame and the way it’s always the women who wear it. I spare her nothing. I say loose women and no morals and I say bastard and I say slut.’ (Jean, p. 220)

‘You don’t have to have it, you know.’ (Stanzi, p. 132)

‘Your body, your choice…That’s what our feminist foremothers fought for’ (p. 134)

‘What if he wanted to know his child, doesn’t he have the right?’ (pp. 133-134)

Jordan highlights the controversial issues of premarital sex, abortion and the rights of women within the mid 20th and early 21st century. Indeed, it is this theme of women that becomes inextricably linked with the effect of a damaged reputation. When Connie falls pregnant, Jean implores that she has an abortion, in secret of course, in order to preserve her and her family’s reputation within the small community. The issue of abortion is later revisited when Charlotte becomes pregnant in the 1990s, where the contrast between the time periods becomes evident; while unplanned pregnancy is greatly stigmatised in the 1940s, the 1990s offers Charlotte a far wider array of options. It is through Jordan’s depiction of the two cases – Connie’s horrific backyard abortion, and Charlotte’s adjustment to parenthood – that she suggests the perceptions and attitudes towards morality, reputation and women have shifted over time, emphasising the importance of reproductive rights in the development of women.

Masculinity

‘I remember coming home from school once, crying. I would have been around six or seven. I was picked last for some team. That was me, the kid without a father.’ (Alec, p. 262)

‘”Westaway,” Cooper says. “Get in. For once in your life, do not be a pussy.”’ (p. 267)

Within the parameters of her text, Jordan articulates how men conform or reject masculine tropes in an effort to fit into society. Toughness, bulling and unsavory activity are presented as the characteristics of a man through such depictions of Mac and his gang. In its connection to the war period, the novel partly focuses on the notion that in order to be classified as a man he must first go through struggle and hardship as presented in the group of strangers taunting Jack, ultimately bullying him into certain ideals of masculinity which prove toxic and consequential - Jack dies as a result. It is Jordan who advocates for a balanced personality of both ‘masculine’ and 'feminine’ characteristics as suggested in the character development of Kip; evolving, learning and devising a true meaning of what it means to be a man outside of its conventional brutality.

Attitudes Towards Asia

‘She is with a customer or sweeping the floor with a broom made from free-range straw that died of natural causes or singing Kumbaya to the wheatgrass so it is karmically aligned.’ (Stanzi, p. 50)

‘The fear of the Nips coming made him a better man.’ (Annabel, p. 178)

‘always wanted to go to India [to study yoga] at a proper ashram.’ (pp. 132-133)

‘She makes her eyes go big and round like some manga puppy’ (p. 264)

Through both overt and subtle language, Jordan makes reference to the attitudes towards Asia which were prevalent at the time, specifically within the war period that saw many Australians ‘[fearing] the nip’. The derogative slang used for the Japanese represents a lack of understanding and fear (the bombing of Darwin and attack on Sydney left many feeling particularly vulnerable to the Japanese). Exacerbated by the fact that Japanese culture was not widely understood and was often misrepresented, the Japanese were stereotyped as brutal and inhuman. Over the course of the novel, attitudes towards Asia dramatically shift especially within the early 1990s of Stanzi and Charlotte's generation. The philosophical ideas of the east are often referenced by characters like Charlotte as she draws on them to make sense of her own complex life. The novel sees another shift in ideology represented through Alec as his generation's perception turns to a more commercial view. Asian culture has earned a place in mainstream media and western life without such gruesome and violent connotations as were previously held during the time of World War II.

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4. Literary Devices

• Throughout her perspective driven text, Jordan makes many references to classic novels which help create a literary context for the narrative and lend themselves to the evolution of the characters throughout the course of the text.
• Alexandre Dumas’ The Three Musketeers – Kip’s characteristic trait of heroism when he sees the gang waiting for him and says ‘on-bloody-guard, d’Artagnan’ (p. 22)
• Charles Dickens’ Great Expectations and Mark Twain’s Huckleberry Finn – both coming-of-age stories about young men struggling within a tough world, only getting by on their wits and strength.
• Brontë sisters' Jane Eyre and Wuthering Heights – their reference is used in discerning a customer’s knowledge on the texts, but reveals only a surface level understanding due to the novels carrying a certain cultural value.
• Jonathan Swift’s Gulliver’s Travels – referenced by Jack Husting in relation to his adventures in the country. Its use pertains to how Jack feels out of place in his home town after leaving a boy and returning a grown man.
• A historical novel that plays with ideas of placing invented characters into a reconstructed world of the past.
• Uses elements of both realism and impressionism to create the text.

Realist Elements:

• A strong focus on everyday life within a particular society with reference to real historical detail.
• Incorporates a logical and strong foundation of context that can be easily digested and believed by the reader.
• Can use an omniscient narrator (all-knowing).

Impressionist Elements:

• Each chapter offers detail and presents a vivid interpretation of specific events.
• Sensory experiences are emphasised by the use of descriptive and poetic language.
• The linear flow of the narrative is disrupted by its construction in a non-chronological order, thereby forcing the reader to piece the whole narrative together at the end.
• Varied depending on the character’s perspective and time of perspective.
• Language is used to historicise each chapter through use of slang, colloquialisms, formal and proper English.
• The novel revolves around the Westaway’s family home in Rowena Parade, Richmond over the course of four generations.
• Rather than them move or the location change it evolves, paralleling the growth and evolution undergone by each of the Westaway family members.
• Inspired by a photograph in the collection of Argus war photos held at the State Library of Victoria, Jordan uses this image capturing a private and intimate moment to establish the premise for each of the book's chapters.
• Titled Nine Days and composed of nine unique perspectives on life at a given time, Jordan offers insight into the emotional livelihood of each narrator and attaches both intimate and historical significance to their stories. ‍

5. Essay Topics

• Toni Jordan’s Nine Days describes a world in which life in the 1930s and 40s was much harder than life in the 21st century. Do you agree?
• In Nine Days , older Kip’s point of view is very unrealistic. To what extent do you agree?
• Toni Jordan’s Nine Days shows us people can choose whether they end up happy or not. Discuss.
• The mood by the end of Nine Days is ultimately uplifting and positive. Do you agree?
• There is more tragedy in Nine Days than there is joy. To what extent do you agree? ‍
• Nine Days , by Toni Jordan, shows the best and worst of Australian culture. Discuss
• Jordan suggests that appreciation of family is integral to personal happiness. Discuss.
• 'Your body, your choice.' What do the different experiences of Connie and Charlotte reveal about changing societal attitudes towards women?
• There are many characters who are largely hidden figures within the text. What significance is produced by including and excluding different perspectives?

6. Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy - a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response because it’ll dramatically enhance how much you can take away from the following essays and more importantly, your ability to apply this strategy in your own writing.

‍ Within the THINK strategy, we have 3 steps, or ABC. These ABC components are: Step 1: A nalyse Step 2: B rainstorm Step 3: C reate a Plan

‍ THINK How-based prompt: How does Nine Days explore the relationship between the past and the present ?

Step 1: Analyse

This is a ‘how’ essay prompt, so in our planning, we need to identify the ways in which the author accomplishes their task. When analysing your question it is important to know what the question is asking of you, so make sure you highlight the keywords and understand their meaning by themselves and in the context of the question. For example, this question is not just asking about the past and present, but rather the connection between the two - so if you discussed the past and the present separately you wouldn’t be answering the question.

Step 2: Brainstorm

Brainstorming is different for everyone, but what works for me is focusing on the key idea, which here would be the relationship between the past and the present, and listing my thoughts out. Not all the ideas will be as equally relevant/good, but I like to have things written down to then improve or simply not use in favour of other ideas.

Past → Present: Westaway family home, the house changes as the family grows Past → Present: Connie’s tragic abortion compared to Charlotte’s options in the 1990s, women’s rights evolving over time Past → Present: Melbourne becoming more multicultural, Alec’s chapter reveals how Melbourne has changed compared to chapters set in earlier times Past → Present: Kip teaching Alec to cherish those in front of us after seeing Connie’s picture Past → Present: Second World War contrast to 9/11 and war in Afghanistan

Now that I have all my ideas listed out I choose my strongest three to flesh out. There are different things that make an idea strong, but the things I consider are: - Do I have enough evidence to support this idea? - Is the idea substantial enough to turn into a whole paragraph? - Do I have an author’s views and values statement? - Can I include context or metalanguage into this idea?

Using the questions above, I decided to use the following ideas: - Westaway family home, the house changes as the family grows (symbolism) - Kip teaching Alec to cherish those in front of them (focus on characterisation) - Melbourne becoming more multicultural (can talk about historical context)

Step 3: Create a Plan

Contention: Through the use of setting and characterisation, Jordan’s Nine Days reveals how the past and present are interconnected. P1: Westaway home embodying the familial connection P2: The past is not completely separate from the present, it teaches us lessons that are pertinent to contemporary life (Alec) P3: Melbourne becoming more multicultural

If you found this helpful, then you might want to check out our A Killer Text Guide: Nine Days ebook which has an A+ sample essay in response to this prompt, complete with annotations on HOW and WHY the essay achieved A+! The study guide also includes 4 more essay topic breakdowns and sample A+ essays, detailed analysis AND a comprehensive explanation of LSG’s unique BBT strategy to elevate your writing!

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Now quite sure how to nail your text response essays? Then download our free mini-guide, where we break down the art of writing the perfect text-response essay into three comprehensive steps. Click below to get your own copy today!

Access a FREE sample of our Nine Days study guide

• Learn how to brainstorm ANY essay topic and plan your essay so you answer the topic accurately
• Apply LSG's THINK and EXECUTE strategy - a clear and proven method to elevate the quality of your Text Response writing
• Includes 5 sample A+ essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ ‍
• Think like a 45+ study scorer through advanced discussions like symbols & motifs, views & values and character analysis.

When it comes to studying a text for the text response section of Year 12 English, what may seem like an obvious point is often overlooked: it is essential to  know your text . This doesn’t just mean having read it a few times either – in order to write well on it, a high level of familiarity with the text’s structure, context, themes, and characters is paramount. To read a detailed guide on Text Response, head over to our Ultimate Guide to VCE Text Response .

Authors  structure  their texts in a certain way for a reason, so it’s important to pick up on how they’ve used this to impart a message or emphasise a point. Additionally, being highly familiar with the plot or order of events will give you a better grasp of narrative and character development.

It’s also a good idea to research the  life of the author , as this can sometimes explain why certain elements or events were included in the text. Researching the  social and historical setting  of your text will further help you to understand characters’ behaviour, and generally gives you a clearer ‘image’ of the text in your mind.

The  overarching themes  of a text usually only become apparent once you know the text as a whole. Moreover, once you are very familiar with a text, you will find that you can link up events or ideas that seemed unrelated at first, and use them to support your views on the text.

For each  character , it is important to understand how they developed, what their key characteristics are and the nature of their relationships with other characters in the text. This is especially crucial since many essay questions are based solely on characters.

With all this said, what methods can you use to get to know your text?

Reading the text itself:  while this may seem obvious, it’s important to do it right! Read it for the first time as you would a normal book, then increase the level of detail and intricacy you look for on each consecutive re-read.  Making notes ,  annotating  and  highlighting  as you go is also highly important. If you find reading challenging, try breaking the text down into small sections to read at a time.

Discussion:  talk about the text! Nothing develops opinions better than arguing your point with teachers, friends, or parents – whoever is around. Not only does this introduce you to other ways of looking at the text, it helps you to cement your ideas, which will in turn greatly improve your essay writing.

External resources : it’s a good idea to read widely about your text, through other people’s essays, study guides, articles, and reviews. Your teacher may provide you with some of these, but don’t be afraid to search for your own material!

Alfred Hitchcock’s classic thriller Rear Window was released nearly 65 years ago. Back then, Hitchcock was a controversial filmmaker just starting to make waves and build his influence in Hollywood; now, he is one of the most widely celebrated directors of the 20th century. At the time of its 1954 release, Rear Window emerged into a world freshly shaken by World War II. The fear of communism riddled American society and Cold War tensions were escalating between the two global superpowers, the USSR and USA. Traditional gender stereotypes and marital roles were beginning to be challenged, yet the ‘old way’ continued to prevail. The culture of the 1950s could hardly be more different to what it is today. Within the Western world, the birth of the 21st century has marked the decline of cemented expectations and since been replaced by social equality regardless of gender, sexual preference and age. So why , six decades after its original release and in a world where much of its content appears superficially outdated , do we still analyse the film Rear Window ?

Rear Window is a film primarily concerned with the events which L.B. (Jeff) Jefferies, a photographer incapacitated by an accident which broke his leg, observes from the window of his apartment. He spends his days watching the happenings of the Greenwich Village courtyard, which enables Jeff to peer into the apartments and lives of local residents. The curiosities which exist in such an intimate setting fulfil Jeff’s instinctual need to watch. The act of observing events from a secure distance is as tempting as reality television and magazines. To this day, these mediums provide entertainment tailored to popular culture. At its roots, Jeff’s role as a voyeur within Rear Window is designed to satisfy his intense boredom in a state of injury. As the film is seen through Jeff’s voyeuristic eyes, the audience become voyeurs within their own right. Until relations between Thorwald and his wife simmer into territory fraught with danger, Jeff’s actions are the harmless activities of a man searching for entertainment.

So, if Rear Window teaches us that voyeurism is a dangerous yet natural desire , does the film comment on the individuals who consent to being watched? Within Greenwich Village, Jeff’s chance to act as an observer is propelled by the indifference of those he observes. Almost without exception, his neighbours inadvertently permit Jeff’s eyes wandering into their apartments by leaving their blinds up. The private elements of others’ lives, including their domestic duties, marital relations and indecencies, are paraded before Jeff. Greenwich Village is his picture show and its residents willingly raise the stage’s curtains . This presentation of Hitchcock’s 1954 statement remains relevant today. Jeff’s neighbours’ consent to his intrusion into their lives bears striking similarities to current indifference. The prevalence of social media enables information to be gathered as soon as its users click the ‘Accept Terms & Conditions’ button. Rear Window is a commentary on social values and provokes its audience to examine habits of their own, especially in a world where sensitive information is at our fingertips. Just as Hitchcock’s 1954 characters invite perversive eyes to inspect their lives, society today is guilty of the same apathy .

The characters of Hitchcock’s thriller are a pivotal element of the film’s construction. They add layers of depth to the text and fulfil roles central to the plot’s development. One of Hitchcock’s fundamental directorial decisions was leaving multiple characters unnamed – within Greenwich Village alone, we meet Miss Lonelyhearts, Miss Torso and Miss Hearing Aid. The stereotypical nature of these labels, based on superficial traits that Jeff observes from his window, exemplifies the sexism prevalent in the 1950s. Jeff’s knowledge of these women is limited to such an extent that he does not know their names, yet considers himself qualified enough to develop labels for each of them. The historical background of stereotypes is imbedded within Rear Window and shares vast similarities with the stereotypes we recognise today.

Hitchcock’s 1954 thriller Rear Window portrays a little world that represents the larger one . Its themes, primarily voyeurism, and character profiles illustrate Hitchcock’s societal messages and provide a running commentary on issues which govern America during the 1950s. In the six decades since the film’s release, the Western world has undergone significant developments both socially and culturally. L.B (Jeff) Jefferies’ perception of women and married life is inconsistent with the relations between men and women that we observe today. Regardless, the timeless views that Hitchcock’s conveys through Rear Window continue to speak volumes about our society. Jeff’s voyeurism, which comprises much of the film’s major plotline, is a channel for Hitchcock to comment about the instinctual desire for individuals to observe others. Additionally, Hitchcock delves into the flip side of this matter, presenting the theory that those he watches are just as guilty of allowing his intrusion into their private lives. Apathetic mindsets in today’s digital world are responsible for the same indifference that Hitchcock explores within his film. Let’s not forget the sexist stereotypes that Jeff develops to label certain women within Greenwich Village. Miss Lonelyhearts, Miss Torso and Miss Hearing Aid are all victims of Jeff’s narrow mindset towards women, emphasised by these superficial and demeaning names. Stereotypes remain as apparent within society today as they were within the world of Rear Window and can be identified within the media’s diverse presentation of social issues. It is easy to assume that Hitchcock’s 1954 thriller, Rear Window , lacks the relevancy we expect from films. Contrary to this perception, its ingrained messages are fundamentally true to this day.

• Symbols and Analysis
• Discussion Questions

Sample Essay Topics

Go Went Gone revolves around an unlikely connection between a retired university  professor , Richard, and a group of asylum seekers who come from all over the African continent . While he’s enjoyed a life of stability and privilege as a white male citizen, the lives of these asylum seekers could not be more different: no matter where they are in the world, uncertainty seems to follow. Richard initially sets out to learn their stories, but he is very quickly drawn into their histories of tragedy, as well as their dreams for the future. 

However, the more he tries to help them, the more he realises what he’s up against: a potent mix of stringent legal bureaucracy and the ignorance of his peers . These obstacles are richly interwoven with the novel’s context in post-reunification Germany (more on this under Symbols: Borders ), but bureaucracy and ignorance are everywhere - Australia included . This novel, therefore, bears reflection on our own relationship with the refugees who seek protection and opportunity on our shores - refugees who are virtually imprisoned and cut off from the world .

Richard ultimately realises that these men are simply people , people who have the same complexities and inconsistencies as anyone else. They sometimes betray his trust; at other times, they help him in return despite their socio-economic standing. The end of the novel is thus neither perfect nor whole - while the asylum seekers develop a relationship with Richard and vice versa, neither is able to entirely solve the other’s problems, though both learn how to be there for each other in their own ways. We don’t get many solutions to everything the refugees are facing, but what we end up with is a lesson or two in human empathy. 

The title of Jenny Erpenbeck’s novel Go Went Gone is a line she weaves into a couple of scenes. In one example, a group of asylum seekers in a repurposed nursing home learn to conjugate the verb in German. In another, a retired university professor reflects on this group, about to be relocated to another facility.

The various privileges Richard holds shape his identity in this text. It shapes how he approaches his retirement for example: now that “ he has time ”, he plans to spend it on highbrow pursuits like reading Proust and Dostoyevsky or listening to classical music. On the other hand, the asylum seekers sleep most of the time: “if you don’t sleep through half the morning, [a day] can be very long indeed.” Richard has the freedom to choose to spend his time on hobbies, but the asylum seekers face a daunting and seemingly-impossible array of tasks. After getting to know them more, he realises that while his to-do list includes menial things like “schedule repairman for dishwasher”, the refugees face daunting socio-political problems like needing to “eradicate corruption”. 

Freedom in general is a useful way to think about privilege in this text, and besides freedom to choose how you spend your time, this can also look like the freedom to tell your story. While Richard helps the men with this to some degree, even he has a limited amount of power here (and power can be another useful way of thinking about privilege). Richard realises that “people with the freedom to choose…get to decide which stories to hold on to” - and those are the people who get to decide the future of the refugees, at least from a legal perspective. 

Though Richard can’t necessarily help with these legal issues, he finds himself doing what he can for the refugees over time. He demonstrates a willingness to help them in quite substantial ways sometimes, for example buying a piece of land in Ghana for Karon and his family. In the end, we see him empathising with the refugees enough to offer them housing: though he is not a lawyer, he still finds ways to use his privilege for good and share what he can. He taps into his networks and finds housing for 147 refugees. 

The tricky thing with empathy though is that it’s never one-sided, not in this book and not in real life either. It’s not simply a case of Richard taking pity on the refugees - we might think of this as sympathy rather than empathy - but he develops complex, reciprocal and ‘real’ friendships with all of them. This can challenge him, and us, and our assumptions about what is right. When Richard loses his wallet at the store, Rufu offers to pay for him. He initially insists he “can’t accept”, but when he does Rufu doesn’t let him pay him back in full. Erpenbeck challenges us to empathise without dehumanising, condescending or assuming anything in the process. 

It’s an interesting way to think about social justice in general, particularly if you consider yourself an ‘ally’ of a marginalised group - how can we walk with people rather than speak for them and what they want?

Freedom of movement is sort of a form of privilege, but movement as a theme of its own is substantial enough to need a separate section. There are lots of different forms of movement in the novel, in particular movement between countries . In particular, it’s what brought the refugees to Germany at all, even though they didn’t necessarily have any control over that movement.

Contrast that with Richard’s friends, Jörg and Monika, who holiday in Italy and benefit from “freedom of movement [as] the right to travel”. Through this lens, we can see that this is really more of a luxury that the refugees simply do not have. Refugees experience something closer to forced displacement , rather than free travel, moving from one “temporary place” to the next often outside of their control. In this process, their lack of control often means they lose themselves in the rough-and-tumble of it all: “Becoming foreign. To yourself and others. So that’s what a transition looks like.”

3. Symbols & Analysis

Language and the law.

Many of the barriers faced by the refugees are reflected in their relationships with language; that is, their experiences learning German mirrors and sheds light on their relationship with other elements of German society. For example, there are times when they struggle to concentrate on learning: “It’s difficult to learn a language if you don’t know what it’s for”. This struggle reflects and symbolises the broader problems of uncertainty, unemployment and powerlessness in the men’s lives.

The symbol of language often intersects with the symbol of the “iron law”, so these are discussed together here. It’s hard on the one hand for these men to tell their stories in German, but it’s also hard for the German law to truly grapple with their stories. Indeed, Richard finds that the law doesn’t care if there are wars going on abroad or not: it only cares about “jurisdiction”, and about which country is technically responsible for the refugees. In this sense, the law mirrors and enables the callousness which runs through the halls of power - not to deter you from learning law if you want though! This might just be something to be aware of, and maybe something you’d want to change someday. 

There’s one law mentioned in the novel stating that asylum seekers can simply be accepted “if a country, a government or a mayor so wishes”, but that one word in particular - “ if ” - puts all the power in lawyers and politicians who know the language and the law and how to navigate it all. These symbols thus reflect power and privilege. 

Borders (+ Historical Context)

Throughout the novel, there’s a sense that borders between countries are somewhat arbitrary things. They can “suddenly become visible” and just as easily disappear; sometimes they’re easy to cross, sometimes they’re impossible to cross. Sometimes it’s easy physically, but harder in other ways - once you cross a border, you need housing, food, employment and so forth.

This complex understanding of borders draws on the history of Germany , and in particular of its capital Berlin, after World War II. After the war, Western powers (USA, UK, France) made a deal with the Soviet Union to each run half of Germany and half of Berlin. The Eastern half of Germany, and the Eastern half of Berlin, fell under Soviet control, and as East Germans started flocking to the West in search of better opportunities (sound familiar?), the Soviets built a wall around East Berlin. The Berlin Wall , built in 1961, became a border of its own, dividing a nation and a city and changing the citizenship of half of Germany overnight. Attempts to escape from the East continued for many years until the wall came down in 1989, changing all those citizenships right back, once again virtually overnight.

This history adds dimension to Erpenbeck’s novel. Refugees pass through many countries, but Erpenbeck draws on Germany’s history specifically as a once-divided nation itself. This helps to illustrate that national borders are just another arbitrary technicality that divides people, at the expense of these refugees. 

Bodies of Water

One motif that comes back a few times in the novel is the drowned man in the lake by Richard’s house. This has a few layers of meaning.

Firstly, the man drowns despite the lake being a perfectly “placid” body of water, and for whatever reason, this bothers Richard immensely: “he can’t avoid seeing the lake”. There’s an interesting contrast here to be drawn between this one death in a still body of water and the hundreds of deaths at sea that are recounted in the novel. Rashid’s stories are particularly confronting: “Under the water I saw all the corpses”. Erpenbeck questions the limits of human empathy - whose deaths are we more affected by, and why - through contrasting these different bodies of water, and those who die within them. Richard is more affected than most, who visit the lake all summer leaving “just as happy as they came” - but even he has his limits with how much he can see and understand. 

The next layer of meaning with this symbol then is more around the surface of the water itself: it is significant that in Rashid’s story, the casualties are below the surface. This reflects the common saying, “the tip of the iceberg” - the survivors who make it to Europe are really just the tip of the iceberg , only representing a fraction of the refugee experience. Often, that experience ends in death. Erpenbeck asks us to keep looking beneath the surface in order to empathise in full. 

Music and the Piano

This symbol is specific to Richard’s relationship with Osarobo , to whom he teaches the piano. There’s one scene where this symbolism is particularly powerful, where they watch videos of pianists “us[ing] the black and white keys to tell stories that have nothing at all to do with the keys’ colours.”

It speaks to the power of music to bring people together, and also to the importance of storytelling in any form: Rosa Canales argues the keys’ colours, and the colour of the fingers playing them, “become irrelevant to the stories emanating from beneath them”.

• “What languages can you speak?”
• “The German language is my bridge into this country” 
• “Empty phrases signify politeness in a language which neither of them is at home” 
• “The things you’ve experienced become baggage you can’t get rid of, while others - people with the freedom to choose - get to decide which stories to hold on to”
• “He hears Apollo’s voice saying: They give us money, but what I really want is work. He hears Tristan’s voice saying: Poco lavoro . He hears the voice of Osaboro, the piano player, saying: Yes, I want to work but it is not allowed. The refugees’ protest has created half-time jobs for at least twelve Germans thus far” 
• “Not so long ago, Richard thinks, this story of going abroad to find one's fortune was a German one”
• “Is it a rift between Black and White? Or Poor and Rich?” 
• “Where can a person go when he doesn't know where to go?” 

5. Discussion Questions

Here are some questions to think about before diving into essay-writing. There’s no right or wrong answer to any of these, and most will draw on your own experiences or reflections anyway. You may want to write some answers down, and brainstorm links between your responses and the novel. These reflections could be particularly useful if you’re writing a creative response to the text, but they’re also a really good way to get some personal perspective and apply the themes and lessons of this novel into your own life.

• Where do you ‘sit’ in the world? What privileges do you have or lack? What can you do that others cannot, and what can others do that you cannot?
• Think about the times you’ve travelled around the world - how many of those times were by choice? What might be the impact of moving across the world against your will?
• How do you show empathy to others? How do you receive empathy from others? What is that relationship ‘supposed’ to look like?
• What are some different names for where you live? How can you describe the same place in different languages or words? If you’re in Australia, what was your area called before 1788?
• Have you ever learned or spoken a language other than English? What language do you find easier to write, speak and think with? How might this impact someone’s ability to participate in different parts of life (school, work, friendships etc.)?

6. Sample Essay Topics

• Go Went Gone teaches us that anyone can be empathetic. Discuss. 
• In Go Went Gone , Erpenbeck argues that storytelling can be powerful but only to an extent. Do you agree?
• How does Erpenbeck explore the different ways people see time? 
• It’s possible to sympathise with Richard despite his relative privilege. Do you agree?
• Discuss the symbolic use of borders in Go Went Gone .
• Go Went Gone argues that the law is impartial. To what extent do you agree?
• “The German language is my bridge into this country.” How is language a privilege in Go Went Gone ?
• Who are the protagonists and antagonists of Go Went Gone ?
• Go Went Gone shows that it is impossible to truly understand another person’s experiences. To what extent do you agree?

In what ways do the people Richard meets challenge his assumptions about the world?

• Go Went Gone is less about borders between countries than it is about borders between people. Do you agree?

7. Essay Topic Breakdown

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. This essay topic breakdown will focus on the THINK part of the strategy. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Within the THINK strategy, we have 3 steps, or ABC. These ABC components are:

Step 1: A nalyse

Step 2: B rainstorm

Step 3: C reate a Plan

This prompt alludes to certain assumptions that Richard might make about the world. If it’s hard to think of these off the top of your head, consider where our assumptions about the world come from: maybe from our jobs, our families and friends or our past experiences. Maybe there are some assumptions you’ve had in the past that you’ve since noticed or challenged. 

Then it asks us how the people Richard meets challenges those assumptions. There’s no way to get out of this question without discussing the refugees, so this will inform our brainstorm.

I think some of Richard’s assumptions at the beginning come from his status: being a professor emeritus makes you pretty elite, and he can’t really empathise with the refugees because his experiences of life are so different. Part of the challenge with this prompt might be to break down what life experiences entail, and where those differences lie: particularly because it’s asking us ‘in what ways’. These experiences could be with language, employment, or personal relationships just to name a few ideas. 

Because Richard’s life experiences are so vastly different, I’d contend that his assumptions are challenged in basically every way. However, I also think that his interest in the refugees exists because he knows they can challenge his assumptions. I want to use the motif of water surfaces to tie this argument together, particularly in the topic sentences, and this could look as follows:

Paragraph 1 : Richard realises that he only has a ‘surface-level’ appreciation of the refugees’ life experiences.

• He realises that he knows little about the African continent (“Nigeria has a coast?”) 
• He suffers from a “poverty of experience” which means he hasn’t had to interact with this knowledge before
• His renaming of the refugees (Apollo, Tristan etc.) suggests that he still needs his own frame of reference to understand their experiences
• He learns about the hardships of migration through the tragic stories of those like Rashid

Paragraph 2 : He also realises that he has a ‘surface-level’ understanding of migration in general.

• This comes from the fact that he has never actually moved countries; he’s only been reclassified as an East German, and then again as a German. Neither happened because he wanted them to.
• On the other hand, the refugees want to settle in Europe: they want the right to work and make a living - it’s just that the “iron law” acts as a major barrier. Their powerlessness is different from Richard’s.
• Part of migration is also learning the language, and Richard is initially quite ignorant about this: he observes that the Ethiopian German teacher “for whatever reason speaks excellent German”, not realising this is necessary for any migrant to survive in the new country.
• We can think of this as the difference between migration and diaspora, the specific term for the dispersion of a people.

Paragraph 3 : Richard is more open than most people to looking beneath the surface though, meaning that his assumptions are challenged partly because he is willing for them to be.

• The symbol of the lake works well here to explain this: he is bothered by its still surface, and what lies underneath, while others aren’t
• We can also contrast this to characters like Monika and Jörg who remain quite ignorant the whole time: Richard’s views have departed from this throughout the course of the novel
• Ultimately, the novel is about visibility: Richard’s incorrect assumptions mean that he isn’t seeing reality, and his “research project” is all about making that reality visible. 

‍ Go Went Gone is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

Updated 19/01/2021

After Darkness is currently studied in VCE English under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

1. Introduction (Plot Summary) 2. Characters and Development 3. Themes 4. Narrative Conventions/Literary Devices 5. Sample Paragraphs 6. Additional Essay Prompts and Analysis Questions to Consider 7. Tips

1. Introduction (Plot Summary)

Christine Piper’s historical fiction, After Darkness deals with suppressed fragments of the past and silenced memories. The protagonist, Dr Ibaraki, attempts to move forward with life whilst also trying to hide past confrontations as well as any remnants of his past wrongdoings and memories. The text consists of three intertwined narrative strands – Ibaraki’s past in Tokyo in 1934, his arrival in Broome in 1938 to work in a hospital there, and his arrival in a detainment camp in Loveday (South Australia) in 1942 after the outbreak of war.

2. Characters and Development

4. Narrative Conventions/Literary Devices

• ‘a mallee tree’ - Aboriginal word for water which symbolises purity, source of life 'if it’s hit by bushfire it grows back from the root with lots of branches, like all the others here. It’s a tough tree. Drought, bushfire…it’ll survive almost anything…I was struck by the ingenuity of the tree in its ability to generate and create a new shape better suited to the environment.'
• The tag with 'the character ko…[with] its loop of yellowed string...The knot at the end had left an impression on the page behind it: a small indentation, like a scar.'

Simile/Imagery:

• 'Felt like hell on earth'
• 'The hollow trunks of dead trees haunted its edges like lost people' - Can also link to the landscape narrative convention
• 'The scene was like a photograph, preserving the strangeness of the moment.'

Description of the hospital atmosphere where the patient next to Hayashi laid

• 'Only the windows were missing, leaving dark holes like the eyes of an empty soul'
• 'The photos reached me first. I leafed through the black and white images: swollen fingers, blistered toes, blackened faces, and grotesque, rotting flesh that shrivelled and puckered to reveal bone. The final photo depicted a child’s chubby hands, the tips of the fingers all black.' - Also foreshadowing death of his and Kayoko’s child

Pathetic Fallacy:

• 'That afternoon, the sky darkened, and the wind picked up…making the world outside opaque.'
• Middlemarch (book) which symbolises Ibaraki and Sister Bernice’s friendship as Bernice was left behind
• Robinson Crusoe
• 'Being able to conduct research in this way has delivered unparalleled knowledge, which we’ve already passed on to the army to minimise further loss of life.'
• 'You haafu fools don’t deserve the Japanese blood in you!'
• 'You bloody racist!'
• 'You fucking Emperor-worshipping pig...!'
• 'Haafu' - Derogatory, racism term used to define those who are biracial (half Japanese):

An interpretation of the language use throughout the text could be Piper’s way of humanising the Japanese people to her readers and notifying them that they also have their own culture and form of communication

Another interpretation of the language use is to show that both the Australians and Japanese are just as cruel as each other because they show no respect to one another and use language in such a brutal way

Ibaraki represents that divide where he can speak both languages, yet still, cannot voice his own opinion or stand up for himself (link to theme of silence)

Personification:

• 'The void seemed to have a force of its own, drawing the meaning of the words into it.'
• 'The engine coughed into life.'

Foreshadowing:

• 'snow was falling as I walked home from the station – the first snow of the season.' - Foreshadowing the storm about to come in his life
• 'A black silhouette against the fallen snow.' - Foreshadowing Kayoko’s death

5. Sample Paragraphs

'But as soon as you show a part of yourself, almost at once you hide it away.' Ibaraki’s deepest flaw in After Darkness is his failure to reveal himself. Do you agree?

• Introduction

Christine Piper’s historical fiction, After Darkness explores the consequences that an individual will be forced to endure when they choose to conceal the truth from their loved ones. Piper reveals that when a person fails to reveal themselves, it can eventually become a great obstacle which keeps them from creating meaningful and successful relationships. Additionally, Piper asserts that it can be difficult for an individual to confront their past and move completely forward with their present, especially if they believed their actions were morally wrong. Furthermore, Piper highlights the importance of allowing people into one’s life as a means to eliminate the build-up the feelings of shame and guilt. ‍

Body Paragraph

Piper acknowledges that some people will find it difficult to open up to others about their past due to them accumulating a large amount of regret and guilt over time. This is the case for Ibaraki as he was involved with the ‘experiments’ when he was working in the ‘Epidemic Prevention Laboratory', in which Major Kimura sternly told him to practise ‘discretion and not talk ‘about [his] work to anybody'. The inability to confide in his wife or mother after performing illegal and mentally disturbing actions causes him to possess a brusque conduct towards others, afraid that they will discover his truth and ‘not be able to look at [him] at all'. His failure to confess his past wrongdoings shapes the majority of his life, ruining his marriage and making him feel the need ‘to escape’ from his losses and ‘start afresh'. He eventually lies to his mother by making her believe that he ‘had gone to Kayoko’s parents’ house’ for the break, avoiding any questions from being raised about his job. As a consequence, he fails to tell his family about his horrid past suggesting that he has accepted that ‘[his] life had become one that others whispered about'. Juxtaposed to Ibaraki’s stress relieving methods, Kayoko confides in her mother after she receives news of her miscarriage, highlighting that when one willingly shares their pain with loved ones, it can release the burden as well as provide them with some assistance. In contrast to this, Ibaraki’s guilty conscience indicates that he will take ‘the secret to his grave', making it extremely difficult for people he encounters to understand him and form a meaningful connection with him. Nonetheless, Piper does not place blame on Ibaraki as he was ordered to keep the ‘specimen’ business hidden from society, thereby inviting her readers to keep in mind that some individuals are forced by others to not reveal their true colours for fear of ruining a specific reputation.

Throughout the journey in After Darkness , Piper engendered that remaining silent about one’s past events that shapes their future is one of the deepest flaws. She notes that for people to understand and form bonds with one another, it is extremely important to reveal their identity as masking it only arises suspicions. Piper postulates that for some, memories are nostalgic; whereas, for others it carries an unrelenting burden of guilt, forcing them to hide themselves which ultimately becomes the reason as to why they feel alone in their life.

6. Additional Essay Prompts and Analysis Questions to Consider

• Analyse the role of silence in After Darkness . Compare the ways in which the characters in the text utilise or handle silence. What is Piper suggesting about the notion of silence?
• Discuss the importance of friendship in the text. What is it about friends that make the characters appear more human? How can friendship bolster development in one’s character?
• Racism and nationalism are prominent themes in the text. How are the two interlinked? Explore the ways they are shown throughout the text and by different characters. Is Piper indicating that the two always lead to negative consequences?
• Analyse some of the narrative conventions (imagery, simile, metaphor, symbols, motifs, landscapes, language, etc.) in the novel and what they mean to certain characters and to the readers.
• Explore the ways in which the text emphasises that personal conscience can oftentimes hold people back from revealing their true thoughts and feelings.
• Character transformation (bildungsroman) is prevalent throughout the text. What is Piper suggesting through Ibaraki’s character in terms of the friendships and acquaintances he has formed and how have they impacted him? How have these relationships shaped him as a person in the past and present? Were such traits he developed over time beneficial for himself and those around him or have they caused the destruction of once healthy relationships?

If you'd like to see how to break down an essay topic, you might like to check out our After Darkness Essay Topic Breakdown blog post!

• Be sure to read as many academic articles as you can find in relation to the text in order to assist you with in-depth analysis when writing your essays. This will help you to stand out from the crowd and place you in a higher standing compared to your classmates as your ideas will appear much more sophisticated and thought-out.
• Being clear and concise with the language choices is such a crucial factor. Don’t over complicate the ideas you are trying to get across to your examiners by incorporating ‘big words’ you believe will make your writing appear of higher quality, because in most cases, it does the exact opposite (see Why Using Big Words in VCE Essays Can Make You Look Dumber ). Be careful! If it's a choice between using simpler language that your examiners will understand vs. using more complex vocabulary where it becomes difficult for the examiners to understand what you're trying to say, the first option is best! Ideally though, you want to find a balance between the two - a clearly written, easy to understand essay with more complex vocabulary and language woven into it.
• If there is a quote in the prompt, be sure to embed the quote into the analysis, rather than making the quote its own sentence. You only need to mention this quote once in the entire essay. How To Embed Quotes in Your Essay Like a Boss has everything you need to know for this!

If you'd like to see sample A+ essays complete with annotations on HOW and WHY the essays achieved A+, then you'll definitely want to check out our After Darkness Study Guide ! In it, we also cover advanced discussions on topics like structural features and context, completely broken down into easy-to-understand concepts so you can smash your next SAC or exam! Check it out here .

MAIN CHARACTERS

Margo Channing played by Bette Davis

As the protagonist of the movie, Margo Channing is a genuine and real actress raised by the theatre since the age of three. She is a vulnerable character who openly displays her strengths and weaknesses; Mankiewicz showcasing the life of a true actress through her. Initially, we see Margo as mercurial and witty, an actress with passion and desire (not motivated by fame but the true art of performing). She is the lead in successful plays and with friends like Karen and Lloyd to rely on and a loving partner, Bill, it seems that she has everything.

However, Margo’s insecurities haunt her; with growing concerns towards her identity, longevity in the theatre and most importantly her relationship with Bill. Eventually, in a pivotal monologue, Margo discusses the problems that have been plaguing her. She battles with the idea of reaching the end of her trajectory, the thought that ‘in ten years from now – Margo Channing will have ceased to exist. And what’s left will be… what?’ By the end of the movie, Margo accepts the conclusion of her time in the theatre and understands that family and friends are what matters most, not the fame and success that come with being an acclaimed actress.

Eve Harrington played by Anne Baxter

Antagonist of All About Eve , Eve Harrington (later known as Gertrude Slojinski) is an egotistical and ambitious theatre rookie. With a ‘do-whatever-it-takes’ attitude, Eve is first introduced to the audience as a timid and mousy fan (one with utmost dedication and devotion to Margo). However, as the plot unfolds, Eve’s motive becomes increasingly clear and her actions can be labelled as amoral and cynical, as she uses the people around her to climb the ladder to fame.

Margo is her idealised object of desire and from the subtle imitations of her actions to infiltrating and betraying her close circle of friends, Eve ultimately comes out from the darkness that she was found in and takes Margo’s place in the theatre. Mankiewicz uses Eve’s character to portray the shallow and back-stabbing nature of celebrity culture; Eve’s betrayal extending beyond people as she eventually turns her back on the world of theatre, leaving Broadway for the flashing lights of Hollywood.

Addison DeWitt played by George Sanders

The voice that first introduces the audience to the theatre, Addison DeWitt is a cynical and manipulative theatre critic. Despite being ambitious and acid-tongued, forming a controlling alliance with Eve, Addison is not the villain.

The critic is the mediator and forms a bridge between the audience, the theatre world, and us; he explains cultural codes and conventions whilst also being explicitly in charge of what we see. Ultimately, Addison is ‘essential to the theatre’ and a commentator who makes or breaks careers.

Bill Simpson played by Gary Merill

Bill Simpson is the director All About Eve does not focus on Bill’s professional work but rather places emphasis on his relationship with Margo. He is completely and utterly devoted to her and this is evident when he rejects Eve during an intimate encounter. Despite having a tumultuous relationship with Margo, Bill proves to be the rock; always remaining unchanged in how he feels towards her.

Karen Richards played by Celeste Holmes

Wife of Lloyd Richards and best friend and confidante to Margo Channing, Karen Richards is a character who supports those around her. During conversations she listens and shares her genuine advice, acting as a conciliator for her egocentric friends. Unfortunately, Karen is also betrayed by Eve, used as a stepping stone in her devious journey to fame.

Lloyd Richards played by Hugh Marlowe

Successful playwright and husband to Karen Richards, Lloyd Richards writes the plays that Margo makes so successful. However, as Margo grows older in age, she begins to become irrelevant to the plays that Lloyd writes. Subsequently, this causes friction between the two characters and Mankiewicz uses this to show the audience the struggles of being an actress in the theatre; whilst also adding to the Margo’s growing concern towards her age.

Lloyd is unwilling to change the part for Margo and thus Eve becomes a more attractive match for the part. An unconfirmed romance between the budding actress and Lloyd also adds to the drama within All About Eve .

MINOR CHARACTERS

Birdie played by Thelma Ritter

A former vaudeville actress (which means that she acted in comic stage play which included song and dance), Margo’s dresser and close friend, Birdie is not afraid to speak the truth. Initially she sees right through Eve’s story and she warns Margo to watch her back. Despite not being in much of the movie, Birdie’s critical eye is a foreshadowing for the audience towards what is to come.

Max Fabian played by Gregory Ratoff

Producer in the theatre, Max Fabian is involved in theatre just to ‘make a buck’. He is a hearty character who adds comic relief to a dramatic plot.

Miss Claudia Caswell played by Marilyn Monroe

Aspiring actress, Miss Caswell is seen briefly throughout the movie to show the audience the shallow nature of the world of show business. Unlike Eve, she relies on her appearance to ‘make’ it rather than talent; as seen during her encounter with Max and the unsuccessful audition that followed.   

Phoebe played by Barbara Bates

The next rising star to follow in Eve’s footsteps, Phoebe is featured at the end of the film. In this scene there is a foreshadowing of the future, which suggests a repeat of the past, thus, making Phoebe an interesting character to observe. She is a manufactured construction of an actress and illustrates how replaceable a character is in the world of theatre.

‍ The Complete Maus by Art Spiegelman is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

• Analysing Techniques in Visual Texts

1. Introduction

The Complete Maus is a graphic novel that depicts the story of Vladek Spiegelman , a Polish Jewish Holocaust survivor who experienced living in the ghettos and concentration camps during the Nazi regime. Vladek’s son, Art has transformed his story into a comic book through his interviews and encounters which interweaves with Art’s own struggles as the son of a Holocaust survivor, as well as the complex and difficult relationship with his father.

Survival is a key theme that is explored during Vladek’s experience in concentration camps and his post-Holocaust life. 

For example, Vladek reflects that “You have to struggle for life” and a means of survival was through learning to be resourceful at the concentration camps.

Resourcefulness is depicted through the physical items Vladek keeps or acquires, as well as through Vladek’s skills . For example, Vladek explains to Art that he was able to exploit his work constantly through undertaking the roles of a translator and a shoemaker in order to access extra food and clothing by being specially treated by the Polish Kapo .

He even wins over Anja’s Kapo to ensure that she would be treated well by not being forced to carry heavy objects. Vladek’s constant recounts and reflections symbolise survival, as Vladek was willing and able to use his skill set to navigate through the camp’s work system.

During the concentration camps, food and clothes also became a currency due to its scarcity and Vladek was insistent on being frugal and resourceful , which meant that he was able to buy Anja’s release from the Birkenau camp.

Although survival is a key theme, the graphic novel explores how Holocaust survivors in The Complete Maus grapple with their deep psychological scars. 

Many of those who survived the war suffered from depression and was burdened with ‘survivor’s guilt’. This can be seen through the character of Art’s mother, Anja, as 20 years after surviving the death camps, she commits suicide. After having lost so many of her friends, and families, she struggled to find a reason as to why she survived but others didn’t. Throughout the graphic novel, her depression is apparent. In a close-up shot, Anja appears harrowed and says that “I just don’t want to live”, lying on a striped sofa to convey a feeling of hopelessness as if she was in prison. Her ears are additionally drawn as drooped, with her hands positioned as if she was in prison in the context is that she must go to a sanatorium for her depression.

It is not only Anja’s guilt that is depicted, but also Art himself who feels partly responsible. Art feels that people think it is his fault as he says that “They think it’s MY fault!” and in one panel, Art is depicted behind bars and that “[He] has committed the perfect crime“ to illustrate that he feels a sense of guilt in that he never really was the perfect son. He believes he is partly responsible for her death, due to him neglecting their relationship. Spiegelman also gives insight to readers of a memory of his mother where she asks if he still loves her, he responds with a dismissive ‘sure’ which is a painful reminder of this disregard. 

Intergenerational Gap

Art constantly ponders how he is supposed to “make any sense out of Auschwitz’ if he “can’t even make any sense out of [his] relationship with [his] father”. As a child of Jewish refugees, Art has not had the same first-hand horrific experiences as his parents and in many instances struggles to relate to Vladek’s stubborn and resourceful tendencies. Art reflects on this whilst talking to Mala about when he would not finish everything his mother served, he would “argue til I ran to my room crying”. This emphasises how he didn’t understand wastage or frugality even from a very young age, unlike Vladek.

Spiegelman also conveys to readers his sense of frustration with Vladek where he feels like he is being treated like a child, not as an adult. For example, Art is shocked that Vladek would throw out one of Art’s coats and instead buy a new coat, despite Vladek’s hoarding because he is reluctant and feels shameful to let his son wear his “old shabby coat”. This act could be conveyed to readers that Vladek is trying to give Art a life he never had and is reluctant to let his son wear clothes that are ‘inappropriate’ in his eyes. However, from Art’s perspective, he “just can’t believe it” and does not comprehend his behaviour.

Since we're talking about themes, we've broken down a theme-based essay prompt (one of five types of essay prompts ) for you in this video:

3. Analysing Techniques in Visual Texts

The Complete Maus is a graphic novel that may seem daunting to analyse compared to a traditional novel. However, with countless panels throughout the book, you have the freedom to interpret certain visuals so long as you give reasoning and justification, guiding the teacher or examiner on what you think these visuals mean. Here are some suggested tips:

Focus on the Depiction of Characters

Spiegelman may have purposely drawn the eyes of the Jewish mice as visible in contrast to the unapparent eyes of the Nazis to humanise and dehumanise characters. By allowing readers to see the eyes of Jewish mice, readers can see the expressions and feelings of the character such as anger and determination . Effectively, we can see them as human characters through their eyes. The Nazis’ eyes, on the other hand, are shaded by their helmets to signify how their humanity has been corrupted by the role they fulfill in the Holocaust.

When the readers see their eyes, they appear sinister , with little slits of light. By analysing the depictions and expressions of characters, readers can deduce how these characters are intended to be seen.

Look at the Background in Each Panel

Throughout the graphic novel, symbols of the Holocaust appear consistently in the background. In one panel, Art’s parents, Anja and Vladek have nowhere to go, a large Swastika looms over them to represent that their lives were dominated by the Holocaust.

Even in Art’s life, a panel depicts him as working on his desk with dead bodies surrounding him and piling up to convey to the reader that the Holocaust still haunts him to this day, and feels a sense of guilt at achieving fame and success at their expense.

Thus, the constant representation of symbols from the Holocaust in Spiegelman’s life and his parents’ past in the panels’ background highlights how inescapable the Holocaust is emotionally and psychologically . 

Size of Panels

Some of the panels in the graphic novel are of different sizes which Spiegelman may have intended to emphasise the significance of certain turning points, crises or feelings . For example, on page 34, there is a disproportionate panel of Vladek and Anja passing a town, seeing the first signs of the Nazi regime compared to the following panels. All the mice seem curious and concerned, peering at the Nazi flag behind them. This panel is significant as it marks the beginning of a tragic regime that would dominate for the rest of their lives.

You should also pay close attention to how some panels have a tendency to overlap with each other which could suggest a link between events, words or feelings.

Although not specifically targeted at Text Response, 10 Things to Look for in Cartoons is definitely worth a read for any student studying a graphic novel!

[Video Transcript]

‍ Hey guys. So previously I've done a video where I talked about how to write a thousand word, a thousand, a thousand-worded essay, and one hour. And so that segues into this particular video where I'm talking about writing three essays in three hours. So if you haven't watched that video, then I'll pop it up in the comment. I'll pop it up in the card up above. I would recommend you go watch that first before you watch this, because pretty much all of the concepts that I talk about in that video, uh, I just expected details that you should know for this video. So instead of actually breaking down the essays as I did in the previous video, what I'm going to do this time is talk more so about, you know, how to actually write three essays in three hours and just not get burnt out and not die, basically. ‍ Yeah, it's that serious. So I've got a few tips for you guys, but I'll keep this short. First thing is that yes, you do want to practice at least one time writing three essays in three hours. And the reason why I say that is because inevitably there will come times where one essay will kind of overlap into another hour. And you just want to ensure that you can know how to handle those situations when we're practicing in one hour blocks. I think it's fantastic to make sure that we can do that, but then kind of like three hours and three essays is another ballgame altogether. So I would recommend at least practicing once sitting down somewhere and just smashing out the three hours worth of work, just so that you know exactly what it's going to feel like when you go into the exam. Now, most schools will actually offer a, like a mock exam for you to do so that literally could be your one practice that you just need. But if you were like me, you might want to do it twice. So in your own time, kind of print off your own exam paper and go ahead and just set aside three hours and just do it that way. The second thing is I heavily emphasized doing reading time. So reading time is pretty much your mental thinking game going strong. And this is where a lot of your pre-work will be done before we actually go into the essays themselves. So make sure you practice reading time. It's 15 minutes before the actual exam, but in that 15 minutes, you can plan three of your essays and you can look up in your dictionary, any key words that you might want to define, or you could even look up the dictionary and try to find synonyms for particular keywords. So what I mean by that is when you open up a dictionary and you look up that word inside the dictionary, often the definition for it will have synonyms for it. So that's like my little hack that I had when I was at school. And then the last thing I would say is just make sure you know what to do if you go over time. So, like I mentioned before, there may be situations where, you know, worst case scenario, you don't finish your essay in time. And that could be because of many reasons. But first thing for you to remember is if you're running over time, sacrifice your conclusion first, do not sacrifice your third body paragraph. I think mostly what happens is students will kind of be somewhere in the third body paragraph for that essay, but rather than skipping that and just do it a little bit of a mess to finish it up and then going into the conclusion, finish off your third body paragraph. And then just forget about the conclusion. The reason why I say that is because a conclusion is basically just the summary of what your entire essay is about. It's not really supposed to be, to add in any new information where as your third body paragraph. You're still explaining your ideas. You're still elaborating and discussing the prompt itself. So that is way more important to get you the marks that you need than a conclusion. The next thing I would do if you're running behind is save a proofreading until very last. So in the last video I talked about doing proofreading last five minutes of every essay. But if you do not have time for that later, leave all your proofreading until the very end and, and you might find that you only have five minutes, it's true proofread all of your essays, but at least you kind of have that reassurance was that you made yourself more time to write beforehand. And so if you literally find yourself writing right up until the last minute and you can't perforate fine sacrifice that too. ‍ Now last thing is, let's just say that you have sacrificed your conclusion and you're still writing your third body paragraph right up until the very last minute. You still have at least half a paragraph to go, but you know, the first hour is over and you need to move onto your second essay. I feel like you can either approach this two ways. The first way is just finish it off, but then move on to the next one as quick as possible. And obviously your hope there is that you will finish the second essay in time within that hour. So that by the time you get to your thing, essay, you are on track again. Right? But in the other alternative that you could do, and probably one that I via towards a little bit more is just stop your third paragraph. Okay? You still have maybe five more sentences you still want to write, but just move onto your next one. I think that's kind of important because what happens is once we start running into the next hour, you will find that with your first essay, you'll run maybe five minutes into your second hour, but then you might find that you run 10 minutes into the third hour with your second essay leaving only 15 minutes to finish your third essay. And that might not be like what you want. And you might know that you just won't be able to achieve that because the third essay is maybe the hardest one that you left to last. And that's the one that usually takes you the longest. So yeah, like these are just thoughts and considerations for you guys to take away with whatever you guys do. I think just be strategic. Think about these things beforehand, because they are things that could trip you up when you are in the exam, you're stressed, you're anxious, you're under time pressure and you just need to get things done. It might kind of make you do like bad decisions or you might do something out of the ordinary that you normally wouldn't do. But if you think about these things beforehand and think about, okay, this is what I'm going to do. If this situation occurs, then at least you kind of have some control over what's happening. And that gives you a little bit of reassurance. That is it from me. I wanted to let you guys know that because we are approaching the end of year. And I know that you guys might not need English help from me very shortly, especially when you're in year 12. I wanted to let you guys know that I do have a personal YouTube channel as well. So that's just linked up above for you. And also in the description box below. If you're interested in following me there, then go ahead and subscribe. I would really love to see you guys there and just be able to still have the connection with you guys. You know, it'd be nice to not only just have you guys on board with me for a year, and then you guys kind of disappear and do your own thing, I'd still really love to stay in contact and be able to hear how you guys are going to once you finish school. So I will see you guys next time. Bye!

Montana 1948 is narrated by David Hayden, now a middle-aged history teacher, reflecting on the summer of 1948 that changed his entire life.

It begins with David noticing that his Native American babysitter, Marie Little Soldier is unwell. Gail and Wesley, David’s parents, attempt to enlist the help of Wesley’s brother Frank, a well-respected doctor in the community. However, Marie reacts to this idea with fear, anxiety and resistance. Gail concludes that something sinister must be happening for her to have such a reaction and she presses Marie for why she is so afraid. Marie then reveals to Gail that she has heard that Dr Frank has been sexually abusing many of his female Native American patients. Gail immediately confides in Wesley who is both the Sheriff of their town and Frank’s brother. This becomes the central source of tension, as Wes must decide between his duty as the Sheriff and his loyalty to his family.

This is all told from the perspective of David, our protagonist, who has to watch his father confront his Uncle Frank about these taboo accusations. Eventually, it seems they reach an agreement with Frank to stop the abuse.

Marie is discovered dead the next day in her bed when Gail goes to check up on her. Later that night, David admits to his parents that he saw Frank go into their home in the afternoon and immediately, Wesley concludes that Frank “is guilty as sin” for murdering Marie. As the Sheriff of the town, Wesley is obligated to arrest Frank, but in order to spare Frank the embarrassment, he keeps Frank in their basement instead of sending him to jail.  

Upon hearing this news, David’s grandfather, Julian, orders Wesley to release Frank. Julian accuses Wesley of arresting him out of jealousy and he threatens to use his power within the community to set Frank free. At this point, Wesley realises that the power of his father would only be matched by the law, and he decides that he must officially prosecute his brother.

That next day, David, Wes and Gail wake up to find Frank dead, having used broken glass to slit his wrists and commit suicide. Young David believes that this was the right action and hopes that everything would go back to normal. But as the story goes, this is not the case.

Prejudice, discrimination and the abuse of power

Another key theme is prejudice, discrimination and the abuse of power. Frank’s abuse of the Native American women is both an abuse of his power and responsibilities as a Doctor and a way to take advantage of his personal belief in White “racial superiority.” Julian and Frank embody the toxic, violent and bigoted mentality prevalent during that time period, which Watson deplores as reprimandable and unacceptable. Even at the novel’s close, Frank’s death is symbolic in two ways. Firstly, it means that Frank managed to escape persecution, public denouncement and jail time. But more importantly, he is still revered in the community as a “respected man” and a “war hero. '' Therefore, while he physically passes away, his ‘legacy’ and façade of heroism remains alive.

Law vs Justice

One of the central themes of ‘Montana 1948’ is the conflict between abiding by the law and doing what is just. Due to the institutionalised racism that existed in the 1940’s, Frank’s actions were not considered technically illegal, however, by intuitive standards of morality , his rape of Natives in his practice and his subsequent murder of Marie clearly warrant punishment. Thus, Watson touches on the failures of the judicial system to consistently hand out judgements that are morally fair and instead reveals the flaws within the legal system of the time that reflect widespread and corrupt social attitudes .

Loyalty vs Morality

Watson also touches on the conflict between loyalty and morality. This, as we know, forms the crux of narrative’s tension . Should Wes arrest and prosecute his brother Frank or not? Should he stay loyal to his family or uphold the moral values that he must stand by as the towns Sheriff? Gail, David’s mother, embodies all the virtues of morality that we all stand by and she is appalled by Frank’s behaviour and demands that he be persecuted regardless of his relationship with Wes. In sharp contrast, Julian believes that Frank can be excused for his actions because the victims were merely “red meat ” Native American women who he views as subhuman.

Characters 

Gail is David’s mother and Wesley’s wife. She is a compassionate, idealistic and courageous woman. This can also be seen as she stands up for Marie, despite the prejudices in the society at the time. She also spends a ‘good deal of energy’ protecting herself and her family.  She also doesn’t take part in Wesley’s racist jokes. For example, when Wesley makes a joke about Marie, ‘never been to anyone but the tribal medicine man’, David responds with ‘my mother didn’t laugh.’

David is Wesley and Gail’s son and is the narrator of the text. He doesn’t share Wesley’s beliefs surrounding race and forms his own moral perspective. This is demonstrated when he makes a fuss about wanting to wear moccasins (which Gail sides with him on) while his father says will make him ‘as flat-footed and lazy as an Indian.’ 

Unlike his father, we don’t see David conflicted with his loyalties and he is particularly critical of his father. This is best demonstrated when he ‘was beginning to already think of Uncle Frank as a criminal’ upon hearing sexual assault accusations against Frank. When Wesley spares Gail the details of his investigation into Frank, David believes it could be because he is ‘trying to protect his brother and keeping the number of witnesses to the accounts of his crime to a minimum’. After Wesley arrests Frank and takes him to the basement for imprisonment, David assumes his father killed Frank despite Wesley not being depicted as a particularly violent person in the novel.  All it takes is an indistinct noise from the basement for David to conjure up ways his father could have killed his Uncle Frank.

Frank is Wesley’s brother and is described as a ‘witty and charming’ doctor, and war hero who is widely loved by the community -particularly by his dad, Julian. In reality, Frank is a criminal who abuses his power - both a white man and a doctor to sexually assault Indian women - which he believes he can get away with.  This is compounded when he states, “I am not concerned about social progress.” Through Frank, Watson demonstrates how some individuals can abuse their positions of power and privilege, and to not lose any sleep over it (‘at smiling ease with his life and everything it’).

Wesley is Julian’s son, Gail’s husband, and David’s father and the sheriff of Mercer county. He dislikes Native Americans and frequently makes jokes about them and stereotypes them. He even uses the fact that Marie Little Soldiers is a Native American to belittle and doubt the credibility of her experience. 

Wesley’s conflicting loyalties become more complex and difficult once you consider the prejudices at the time, his job as an officer of the law, Frank’s station in the family and community, Gail’s strong opinions and his constant need to seek validation from his father. An instance that mirrors Wesley’s conflicting loyalties is when he tells Gail, “I wish you wouldn’t have told the sheriff.” When she told informed him of Marie’s sexual assault allegations against Frank. However, in Wesley’s eyes, Frank’s murder of Marie Little Soldier, is where the latter crosses the line. The magnitude of his brother’s crime is too large for him to let his previous conflicting loyalties as a sheriff and a brother hold him back from arresting Frank. After convicting Frank and having to argue about it with his father, we learned ‘for the first time how this experience with his brother was ruining him physically.’ 

Julian is a bigoted racist man who has an unconditional love for his son Frank and unfairly favours him over his son Wesley. When he learns of Franks charges he exclaims, “What kind of bullshit is this?” He belittles the sexual assaults as Frank just ‘feeling them up’ and ‘assaulting an Indian’. At this point, Julian taking Frank’s side exposes how irrationally loyal he is to his son and suggests that even if the women were not Indian, he may still stand by Frank's actions. He protests that the only reason Wesley convicted Frank was that ‘ever since the war, ever since Frank came home in uniform and he [Wesley] stayed here [home],’ he’s ‘been jealous’. However, this comment seems to say more about Julian’s feelings than Wesley’s - perhaps, this is why Julain felt this inclination towards Frank. After this argument, we see Wesley’s feeling of defeat and heartbreak - that despite Frank being a murderer and a rapist, his father still seemed to pick his side over Wesley’s. 

Quotes on Prejudices, Discrimination and the Abuse of Power

• “He wears those and soon he'll be as flat-footed and lazy as an Indian" - Discrimination is evident in Montana 1948 where Wesley uses stereotypes of Indians to imply they are inferior to them, and that David shouldn’t be like them.
• "She's an Indian- Why would she tell the truth?”  
• “Your mother and I thought we’d have more to show than just one grandchild … and white- we want them we want them white”
• “Screwing an Indian. Or feeling her up or whatever. You don’t lock up a man for that.”
• “You know Frank’s always been partial to red meat.”  
• “Well if Sheriff Hayden says it's so, it must be so.”
• “Wesley, your brother is raping these women. These girls. These Indian girls.”

Quotes on Law vs Justice

• “Why did my grandfather first run for sheriff? … He wanted, he needed power. He was a dominating man who drew sustenance and strength from controlling others.” This quote shows that many people in society at the time held positions of power such as lawyers or sheriff but didn’t enforce the law or worry about the morality of their actions. Thus creating an unjust legal system that would allow these people to shape how the law is enforced with their own prejudices.
• “You know what your Grandad said it means to be a peace officer in Montana? He said it means knowing when to look and when to look away.”  
• “I think the problem has been taken care of. Frank said he’s going to cut it out”

Quotes on Loyalty vs Morality

• "David, I believe that in this world people must pay for their crimes. It doesn't matter who you are or who your relations are; if you do wrong, you pay. I believe that. I have to."
• “I wish you wouldn’t have told the sheriff.” 
• “You don’t lock up your brother. A respected man. A war hero.” “This is a legal matter.” “Bull sh*t. ” “Then why have you got him locked up here and not over at the jail? This is your brother here. My son! ”

Quotes on Destruction of Innocence

• 'I had gone back into the house -to the kitchen, to my room, out the backdoor, I had left the porch and followed frank's steps down the front walk - I never would have heard the conversation between my father and mother, and perhaps I would have lived my life with an illusion about my family and perhaps the human community’ - page 33
• “The shock of hearing this about Uncle Frank was doubled because my mother was saying these words. Rape. Breasts. Penis. These were words I never heard my mother use-ever- and I’m sure her stammer was not only from emotion but also from the strain on her vocabulary.”
• “But I was on a trail that would lead me out of my childhood.”

With contributions from Fae Saberi.

Like a House on Fire is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

• Historical Context
• Essay Planning
• Essay Topics

1. Historical Context

Kennedy’s anthology of fifteen short stories, Like a House on Fir e, explores the impacts of familial and social issues on an individual’s sense of identity and humanity, illustrating the vast spectrum of human condition. Having lived a majority of her life in Victoria, Australia, Kennedy’s collection follows the stories of various protagonists whose voices are characteristic of Australian culture and society. As the text is set in the backdrop of rapid Australian modernisation, the novel also depicts the paradoxical nature of technology, as various characters are depicted to be torn between confronting or embracing this fundamental change. Despite approaching the stories of characters conflicted by modern and social challenges with both humour and cynicism, Kennedy’s lack of judgement is notable; it is with this empathetic stance that she is able to the universal nature of human emotions to her readership. 

Kennedy explores the theme of identity mainly through physical injury, as various characters with physical trauma find themselves to be agonisingly limited within the confines of their condition. In Like a House on Fire , the narrator’s sense of identity becomes intertwined with his subsequently decreased masculinity, as his back injury leaves him unable to physically take care of his family, and his wife begins to undertake stereotypically masculine roles within the household. In tandem with this, Roley’s wife in Little Plastic Shipwreck is rendered humourless and witless due to her brain injury, distorting her once enthusiastic self into one shadowed by her illness; further emphasising the link between physical and mental identity. 

Order and Disorder

The inherent tension between order and chaos is continually examined throughout the anthology, particularly in Like a House on Fire, in which perfectionistic order and scatter minded disorder are embodied in the unnamed narrator and his wife respectively. As the two individuals are unable to establish a compromise between their contrasting personalities, Kennedy suggests that this lack of cooperation is the core reason for the deterioration of their marriage, and their subsequent misery. The notion of disorder is also symbolised by the domestic setting itself, as Kennedy depicts various characters who feel pervasive ennui and dissatisfaction within the ‘chaotic mess’ of their household environments.

Each protagonist in the collection is portrayed as possessing some object of longing, whether it be material or emotional. Kennedy utilises scattered verses of prose within her writing to communicate these human desires, building upon their significance poetically. In Static , Anthony attempts to negotiate his own wishes with those of his wife and family, leading him to wonder whether anything present in his life has been created by his own will or merely his eagerness to please others. His desire for various types of happiness, embodied in material concepts such as money or children, suggest that the human condition is built upon the foundation of dissatisfaction; that innate longing is what ultimately defines us as human.

The theme of love is present in each story of the collection, often used as an instrument through which the characters can heal and grow from their physical or spiritual pain. While suggesting that true love endures all hardship in Like a House on Fire , Kennedy also illustrates the various sacrifices one must make in order to protect the ones you love. Such is depicted in Five-Dollar Family , as a new mother makes the difficult decision of leaving her ‘loser’ boyfriend to give her child a chance at the best life possible, despite the unfortunate situation he has been born into. 

Communication

The vital importance of communication within families is emphasised in the anthology, as the lack of effective communication perceivably exacerbates dysfunctional relationships. The crushing regret of a son is explored in Ashes , as he laments his lack of communication with his father who he can no longer speak to. However, Kennedy empathetically depicts the difficulty of communicating potentially painful messages to loved ones in Waiting , as the protagonist anxiously agonises over the prospect of telling her husband that she may have another miscarriage following an excruciating string of lost children. 

In tandem with longing, Kennedy asserts that empathy is vital to the survival and happiness of a human being. This notion is aptly depicted in Little Plastic Shipwreck , in which the death of Samson the popular show dolphin results in Roley’s revelation of his manager’s complete lack of empathy, and subsequently the abundance of his own. Similarly, the salient importance of empathy is emphasised in Flexion , as the cold-heated and harsh victim of a brutal tractor incident repairs his marriage by allowing himself to feel more empathy for those who have supported his recovery and been understanding of his bitterness. 

The anthology centres around the concept of family, as both dramatic events unfold directly due to altercations and misunderstanding within the household. By depicting both the dramatic and mundane events that contribute to creating dysfunctional families, Kennedy asserts that kindness and understanding is vital to the maintenance of a healthy and loving family. The power of family is also depicted in Like a House on Fire , as the protagonist’s dissatisfaction with life is instantly washed away by the actions of his children, who remind him that despite his life-threatening injury, his family is his constant source of love and support. 

If you'd like to see how themes like these can be identified and analysed in one of Kennedy's short stories, you might like to check out our Close Analysis Of 'Cake' From Like A House On Fire blog post!

3. Essay Planning

Whenever you get a new essay topic, you can use LSG’s THINK and EXECUTE strategy , a technique to help you write better VCE essays. If you’re unfamiliar with this strategy, then check it out in How To Write A Killer Text Response .

Question 1: ‘Gender plays no role in the tragic identities of the characters in Like a House on Fire.’ To what extent do you agree?

Suggested contention: despite the ubiquitous nature of hardship, the short stories of like a house on fire explore the effect of gender roles on individuals’ sense of self-worth., body paragraph 1: .

• Pain is depicted to have no partiality to either gender in Like a House on Fire. 
• Much of the trauma explored throughout the anthology is a result of lack of emotional connection or familial misunderstanding arising through individual actions, rather than due to stereotypes associated with gender. 
• Kennedy suggests that there is no gender more at fault for these issues, but rather that it is mindset that determines one’s identity and fate, especially in relationships. For example, just as the protagonist’s wife in Flexion makes the mistake of cruelly wielding her physical dominance over her husband, the passive boyfriend in Five-Dollar Family is cruel in his apathy toward his girlfriend and their newborn baby.     

Body paragraph 2: 

• Despite this, Kennedy explores the social views that plague men as a result of their gender, compelling to limit their identity to meet these fatal expectations. 
• The concept of masculinity is explored throughout the collection, often presented as an inferiority complex for many male protagonists due to their physical disabilities. The societal idea that men should be physically strong in order to be able to provide for his family is heavily condemned in Like a House on Fire , as Kennedy depicts the destructive consequences of such on one’s sense of self-worth. 
• For example, the narrator of Like a House on Fire perceives his own physical weakness as unmanly, and subsequently himself as an unfit and useless father. As he is unable to pick up the  family’s Christmas tree, the tree seller looks towards him with disdainful judgment, perceiving the protagonist’s wife lifting the tree to be ‘destroying the social fabric’. 
• In addition to this, the narrator’s extreme attempt to physically help the family results in the destruction of the precious family nativity scene, symbolising the idea that social constructs of masculinity inevitably ends in destruction, as the narrator’s inability to recognise his physical limitations only exacerbates the problem. 

Body paragraph 3: 

• In tandem with this, the collection of short stories also examines the social limitations placed upon women solely due to their gender. 
• The difficulty for women to balance their roles of mother and career woman is explored in Cake , in which the protagonist Liz fails to separate one from the other, leading her to feel dissatisfaction in both. Kennedy ostensibly denounces the social expectations of women to be domestic helpers, as Liz faces judgement at work for bearing a child, whereas her husband is exempt from any judgement despite it also being his son. 
• The complicated and personal concept of pregnancy is further depicted in Waiting , as the protagonist agonises over the fact that she may lose another child due to a miscarriage. As the fear of disappointing others takes over her own pain and anguish, readers of the collection are invited to consider the harrowing expectations placed on women to be successful mothers. 

Question 2: ‘Like a House on Fire shows that family relationships are never perfect.’ Do you agree?

Suggested contention: through the constant depiction of dysfunctional families in like a house on fire, kennedy asserts the importance of communication and empathy in repairing broken relationships, and suggests that perfect families are unrealistic. .

• Every story in the collection depicts a family undergoing some kind of hardship, whether it be financial, emotional or spiritual. Through her depiction of broken families, Kennedy suggests that emotional stress and tension within families is sometimes inevitable, even in a loving and supportive environment. 
• The title of the collection, Like a House on Fire , is emblematic of the dual nature of families, as while the phrase symbolises the chaos and disorder of one’s family dynamic, it also symbolises the love and extreme passion that often coexists alongside it. 
• For example, while the protagonist in Like a House on Fire reminisces upon the ‘fiery’ sexual and emotional happiness of their marriage, he also deplores their current period of domestic stress, describing it as a ‘house on fire’. 
• Kennedy depicts the need for family members to engage in open and honest communication with one another to overcome the effects of trauma. 
• For example, in Ashes , Chris is only able to find closure by finally understanding the mindset off his parents through effective communication. His newly found ability to express his true emotions to his mother allows him to finally perceive the grief that was masked by her supposedly ‘cruel’ actions, and subsequently finally achieve a stable relationship with her. 
• Kennedy also advocates for the exercise of empathy between family members in order to find harmony within dysfunction. 
• This is apparent in Flexion , in which the seemingly emotionless protagonist and his wife undergo their respective journeys of expressing empathy for the other. As their marriage significantly improves due to their increased understanding of each other, Kennedy promotes the importance of vulnerability and openness within families. 

Beyond the Basics: 

How does Kennedy’s short story format add to the reader’s understanding of the themes uncovered in the novel? 

• The range of diverse, Australian voices depicted in the anthology work to portray the vast spectrum of the human condition. 
• The concise narrative present in each of the fifteen stories work to provide the readership with an extremely personal point of view that emphasises the emotions and mindset of the protagonist, furthering the sense of authorial empathy and compassion. 
• It is through this almost voyeuristic advantage we subsequently possess as readers, that we are able to fully understand the depth of each character’s humanity and sense of identity, as well as the various struggles that follow the course of an individual’s life.
• Kennedy’s ordering of the short stories also contributes to the reader’s depth of understanding. There is no apparent chronological order present in the collection, but rather a varied order of stories, depicting its diverse range of voices. For example, while the key themes and tones of the anthology remain consistent throughout, other factors such as age, gender and life experience of the protagonist vary in order to provide contrasting character viewpoints. 
• As such, this variation in narrative voice allows Kennedy to present her stories as universal human experiences, emphasising the ubiquitous nature of the themes present in Like a House on Fire . 
• Finally, the varied structure within each individual story lends an optimistic tone that underscores the entirety of Kennedy’s work. While some stories such as Flexion begin with the inciting event, others emphasise the chain of events that occur in leading up to the key event, as depicted in Ashes . As the undertones of hope and faith are present throughout the collection, the varied plot structure of each story allows Kennedy to assert that no matter the circumstance of hardship, one can always find a glimpse of optimism within its depths. 

If you'd like to see another essay topic breakdown, you might like to check out our Like a House on Fire Essay Topic Breakdown blog post!

4. Essay Topics

The following essay topics are extracted from our Like a House on Fire Study Guide :

• In Like a House on Fire, Kennedy illustrates that perfect families do not exist, and that family dysfunction is inevitable. To what extent do you agree?
• The characters in Like a House on Fire are largely defined by social expectations of their gender. Discuss.
• In Like a House on Fire, how does Kennedy show that in even times of hardship, human strength will prevail?
• ‘The range of narrative points of views used in Like a House on Fire illustrate the characters’ deeply personal responses to life’s challenges.’ Discuss.
• ‘…As the lifetime habit of keeping his responses to himself closed his mouth in a firm and well-worn line.’ How does Kennedy present communication as a key issue in the relationships in Like a House on Fire?

If you'd like to see A+ essays on these essay topics, complete with annotations on HOW and WHY the essays achieved A+ so you can emulate this same success, then you'll definitely want to check out our Like a House on Fire Study Guide ! In it, we also cover advanced discussions on topics like authorial views and values, symbols and motifs and context completely broken down into easy-to-understand concepts so you can smash your next SAC or exam! Check it out here .

5. Resources

Like a House on Fire Essay Topic Breakdown

How To Get An A+ On Your Like A House On Fire Essay

Close Analysis Of 'Cake' From Like A House On Fire

The Ultimate Guide to VCE Text Response

How To Write A Killer Text Response Study Guide

How to embed quotes in your essay like a boss

How to turn your Text Response essays from average to A+

5 Tips for a mic drop worthy essay conclusion

The Importance of the Introduction

This blog was updated on 23/10/2020.

3. Symbolism

4. Important Quotes (Parts 1-4)

5. Sample Essay Topics

On the Waterfront is usually studied in the Australian curriculum under Area of Study 1 - Text Response. For a detailed guide on Text Response, check out our Ultimate Guide to VCE Text Response .

On the Waterfront is a part drama, part gangster film that’s authentic and powerful in its approach. Set on New York’s oppressive waterfront docks, longshoremen are forced to play a game where the odds are always stacked against them. The film approaches concepts such as trade unionism, corruption, and racketeering, and is a story that stitches together other stories. As discussed later , Kazan used Terry Malloy as a representation for his own real-life struggles against the powers above. The film is also a depiction of the hardships of life on the docks in 1940s America.

Inspired by real-life incidents, Kazan has created a world where workers live under the iron fist of corrupt trade union bosses. Let’s take a deeper dive into what this world looks like and the events that form the basis of the film.

Power Corruption

Johnny Friendly’s maintenance of power involves controlling several aspects on the waterfront – from the operations to the stevedores. Firstly, threats are repeatedly made against all the longshoremen in an effort to ensure that if anyone dares to act out against Friendly, they are sure to meet dire consequences. Their fear is reinforced through the various murders committed by the gang, most of which are the deaths another longshoremen, thus warning the workers that any one of them may be next. Although Friendly is clearly behind the homicides, the longshoremen and their families are unwilling to speak to the authorities, as they know full well that they would be risking their lives. This demonstrates their lack of protection and vulnerability in the hands of the union leader, which is exactly what he has aimed to establish.

Faith is a strong underlying theme set forth by Father Barry and the church. The priest’s constant remainder of what is right and wrong urges the men to step outside Friendy’s grasp and begin to think about themselves. When Father Barry conducts the congregation, the interruption caused by the mob falters the longshoremen’s hopes, since Friendly’s power can even reach as far as a church, where people are supposed to be ‘safe’. To do what is morally correct is a simple concept but one that is difficult for the longshoremen to embrace. It is only when they begin to have faith in their actions that things begin to change on the waterfront.

The film poses the question, what is true loyalty? Friendly pretends to be looking after the longshoremen by sending out loans and offering them better work positions, for example, Terry on the loft. However, in reality Friendly uses this action to manipulate the men to his advantage. It is a tactic to ensure that the longshoremen believe that they in return, have to support Friendly. An additional tactic of Friendly’s manipulation is shown though the infiltration of the longshoremen’s minds. The words ‘rat’ and ‘stool’ prevent the men from speaking out since they believe that they will betray one another. Terry believes that he will ‘rat’ on his friends when in fact, he is simply telling the truth. He ultimately learns that instead of abiding by Friendly, he needs to be loyal to himself, and this eventually saves himself and the other longshoremen from the clutches of the union leader. The name ‘Friendly’ is ironic since he is hardly a ‘friend’ but a ‘nemesis’ of all those who reside on the waterfront.

• Ambivalence

Throughout Terry’s personal journey, it is clear that he is uncertain about his feelings and thoughts in regards to various aspects of his life, from his low-ranking position as a stevedore, Joey’s death and Friendly’s involvement, the longshoremen’s lack of rights, to Edie’s unique perspective. His initial ambivalence after Joey’s death is highlighted through the thick mist that covers the city and consequently obscures the people’s vision. At the end of the film when he is finally resolute on overthrowing Friendly, the omnipresent fog that sweeps over Hoboken suddenly disappears, reflecting that his mind has now ‘cleared up’ or that he has an ‘unclouded vision’. His behaviour shifts from an introverted person who appears uncomfortable in his own skin as he refuses to look people eye-to-eye and constantly chews gum, to someone who possesses a confident stance, standing tall and proud.

On the Waterfront  emphasises that it is never too late to redeem oneself. The religious imagery of Joey, Dugan and Charley ascending to heaven demonstrate that although they had spent much of their life turning a blind eye to the indiscretions of Friendly and his men, their actions at the very end of their lifespan allowed them to compensate for their sins. ‍

Bird symbolism is heavily embedded throughout  On the Waterfront . The longshoremen represent pigeons, as they are docile and delicate in the hands of Friendly, who is portrayed as the ‘hawk’ who swoops above at them, keeping his watchful eyes on each and every pigeon in case they misbehave. Kazan often films Terry positioned behind Joey’s Coop fence, therefore characterising Terry as a pigeon stuck in a cage, as if bound by Friendly into a small world that he cannot escape. When the longshoremen await work on the docks, the recurrent high-angle shots peer down at them, depicting them as a flock of birds, rummaging around. Much like pigeons, they compete with one another when ‘pecking’ at the tabs that Big Mac throws at them, as if the tabs are like ‘seeds’.

Instead of being ‘D and D’, those who ‘sing’ or in other words, speak out against Friendly are labeled ‘canaries’, since these birds are most notably recognised for their singing behaviour. Canaries were once used as a barometer for air quality down in mines. If there were toxic gases in the mines, this would subsequently lead to the canary’s death as this type of bird is extremely sensitive to air borne pollutants. Thus, this would be an indication for miners of whether or not it was safe to work in the pit. The bird’s self-sacrifice parallels that of Joey and Dugan, who tried their best to help out the other longshoremen, yet both met their deaths after ‘singing’ out against Johnny Friendly.

Originally named The Hook but eventually changed to  On the Waterfront , the sharp tool is an important representative of Friendly’s power over the men. All the longshoremen carry silver hooks on their shoulders as part of their work on the docks, but from another view, it is as though Friendly has ‘hooked’ onto the men – and thus, they cannot escape the union leader. Like many other words used in the film, it is a pun, as ‘hook’ is also a term used in boxing, meaning a short swinging punch with the elbow bent.

Hudson River and New York City

The river is always subtly lurking in the background of several scenes throughout the film. It acts as a metaphorical barrier that prevents the men from escaping Friendly’s grasp as they appear to be ‘trapped’ on the Hoboken docks. The ever-present fog is a veil that manages to conceal Manhattan on the other side of the river. Since the city’s silhouette barely peeps through, it portrays a sense of mystery and unknown to the stevedores who can seemingly never leave Hoboken. At the end of the film however, when Friendly no longer exerts any control over the men, the shot of the Hudson River and the city on the other side is crystal clear. The outlines of the skyscrapers, which were once unidentifiable, are now easy to recognise, demonstrating that the men are free, as their vision is no longer clouded by Friendly.

Gloves have significant meaning in two key scenes in  On the Waterfront . Most notably, Edie’s white glove symbolises a ‘good’ world, a place that is peaceful and pure. It reflects Edie’s personality as she conducts herself virtuously and with amiability. When Terry wears one of her gloves, it demonstrates that he is ‘trying on’ her perspective of life, where ‘everybody [should] care about everybody else’. On the other hand, when Charley and Terry share an intimate conversation in the taxi, Charley’s black gloves represent Friendly’s ‘evil’ world. Charley begins to feel uncomfortable in his clothing and removes a glove when he confronts the truth about being solely responsible for coercing Terry into forfeiting his career and subsequently becoming just another longshoremen. His removal of the glove depicts the notion that Charley will no longer be manipulated and controlled by Friendly, and is essentially, taking a step out of Friendly’s oppressive world.

Windbreaker

On the surface, the windbreaker is simply a jacket that is passed amongst the longshoremen, in particular, from Joey to Dugan to Terry. The sharing of the jacket represents camaraderie and brotherhood, since the men have little money to spend on buying warm clothes and as a result, most of their clothing has been worn through. This is a stark comparison with the mob, who are proud owners of long thick coats with scarves, hats and gloves to protect them from the Hoboken bitter cold weather. Symbolically, the jacket motivates the three men stand up to Friendly. Firstly, Joey talks to the Crime Commission yet before he is able to do any damage to the mob, he is found dead. As a result, his jacket is passed to Dugan, who later on musters the courage to continue in Joey’s shoes and reveal thirty-nine pages worth of notes about Friendly’s operations to the Crime Commission. Unfortunately, Friendly manages to successfully silence Dugan. The windbreaker is ultimately passed to Terry who testifies in court and defeats Friendly once and for all. The jacket demonstrates that even with murder, the truth cannot be silenced.

Important Quotes

Joey's death (part 1).

"Maybe he could sing but he couldn’t fly."

"I kept telling him, "Don’t say nothing. Keep quiet, you’ll live longer.""

‘I’ve been on the docks all my life boy, and there’s one thing I learned. You don’t ask no questions, you don’t answer no questions unless you want to wind up like that."

"Did you ever hear of a saint hiding in a church?"

"We got the fattest piers in the fattest harbour in the world."

Joey’s Coop (Part 2)

"They sure got it made. Eating, sleeping, flying around like crazy, raising gobs of squabs."

"Be careful. Don’t spill no water on the floor. I don’t want them to catch a cold."

"Johnny Friendly the “great labour worker.""

"Why don’t you keep that big mouth of yours shut."

"I’m poorer now than when I started."

Terry and Edie (Part 3)

"Your brother was a saint, the only one who ever tried to get me compensation."

"You don’t buy me. You’re still a bum."

"Who’s calling me a bum?"

"Don’t pay no attention to him. He’s drunk, he’s falling down. Everything. He’s just a juicehead that hands around the neighbourhood. Don’t pay no attention."

"It isn’t just brains. It’s how you use them."

Terry’s Confession (Part 4)

"Favour, who am I kidding? It’s “do it or else.”’

"It’s like carrying a monkey on my back."

"Question of “who rides who.”’

"If I spill, my life ain’t worth a nickel."

"And how much is your soul worth if you don’t?"

1. Edie is depicted as an angel that saves Terry. To what extent do you agree?

2.  On the Waterfront  portrays a world where people are only successful through money and violence.

3. We are able to understand the moral struggles of the characters through the cinematic devices used in  On the Waterfront .

4.  On the Waterfront  demonstrates that silence cannot be achieved through murder.

5. The actions of only a few individuals can result in a revolution. Discuss.

Now it's your turn! Give these essay topics a go. For more sample essay topics, head over to our On the Waterfront Study Guide to practice writing essays using the analysis you've learnt in this blog!

Theme-Based Essay Prompt: On the Waterfront shows that power and money can destroy a man’s soul.

Step 1: analyse .

This essay prompt is an example of a theme-based prompt . It specifies ‘power’, ‘money’, and ‘soul’ as ideas for you to consider. When faced with a theme prompt, I find it most helpful to brainstorm characters and author’s views that are relevant to the given themes, as well as considering more relevant themes that may not have been mentioned in the prompt itself.

Here are some of my thoughts scribbled down:

• We cannot discuss power without also touching on redemption, as those that subscribe to power corruption are morally defeated, whereas the characters that reject power and money are somewhat martyred. Faith is also important: what happens to those who place faith in money and power versus those with religious faith? 
• The prompt is asking us to show (and essentially prove) the point that power and money are destructive. 
• How are power and money intertwined? 
• Souls are ambiguous and intangible, although in this film it can be interpreted as the character’s moral code and how the film validates those morals. 
• A soul destroyed is one that has been chipped away, whittled down and eventually broken to pieces. Power doesn’t wear a soul down in an instant, it’s progressive. 

Power & money 

• In capitalism, money is a tangible representation of power. Money talks. Having lots of it seemingly makes you powerful over those that don’t. 
• Friendly controls the docks because he has the money (and the power) to do so. 
• Chasing money (for survival, status or ego) can lead a man to do unethical and problematic things.

Those that chase power & money 

• Charley, Friendly and the rest of the mobsters. They’re faithless.  
• Terry to a certain point. His loyalty is “bought” and “owned”.  
• Charley follows Friendly wholeheartedly which results in his own bitter end. 
• Friendly embodies power & money and ends up beaten and alone. 
• Mr. Upstairs turns on Friendly in an instant. 

By contrast, those that reject power & money 

• Edie, Father Barry
• Dugan and Joey, both die for their beliefs. The film validates their actions by treating them as martyrs throughout. 
• Dugan’s body ascending with Father Barry after he dies under whiskey barrels 
• Joey’s jacket being handed down from one heroic dockworker to another 
• Terry after a certain point

Contention: On the Waterfront uses its characters to show that having faith in power and money can destroy a man’s soul, whereas having faith in the greater good can lead to redemption. 

P1: Having faith in power & money destroys Johnny Friendly and Charley.

P2: Rejecting power & money and having faith in the good of people is rewarded (Dugan, Joey, Edie, Father Barry, for example).

P3: Terry sits in between these two notions for most of the film. His soul is redeemed when he rejects power & money and chooses to do the right thing. 

As you can see, in this structure, each paragraph grapples with the theme in a way that links each character and the film’s treatment of them.

If you find this essay breakdown helpful, then you might want to check out our On the Waterfront Study Guide where we cover 5 A+ sample essays with EVERY essay annotated and broken down on HOW and WHY these essays achieved A+ so you reach your English goals! Let's get started.

Metalanguage is language that describes language. The simplest way to explain this is to focus on part 3 of the English exam – Language Analysis. In Language Analysis, we look at the author’s writing and label particular phrases with persuasive techniques such as: symbolism, imagery or personification. Through our description of the way an author writes (via the words ‘symbolism’, ‘imagery’ or ‘personification’), we have effectively used language that describes language. For a detailed discussion, see  What is metalanguage?

• Protagonist
• False protagonist
• Secondary character
• Supporting character
• Major character
• Minor character
• Philosophical
• Non-fiction
• Short stories

Language form

• ProseIambic pentameter
• Blank verse

Narrative mode

• First person view
• Second person view
• Third person view
• Third person objective
• Third person
• Third person omnipresent
• Third person limited
• Alternating narrative view
• Stream-of-consciousness
• Linear narrative
• Nonlinear narrative

Narrative tense

• Anti-climax
• Trope-cliché
• Turning point
• Geographical

Other literary techniques

• Active voice
• Alliteration
• Bildungsroman
• Characterisation
• Cliffhanger
• Colloquialism
• Complex sentence
• Compound sentence
• Connotation
• English (American)
• English (Australian)
• Flash forward
• Foreshadowing
• Juxtaposition
• Onomatopoeia
• Passive voice
• Periphrasis
• Personification
• Positioning
• Simple sentence

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• Chapter Summaries
• Essay Prompts

The novel chronicles the evolution of family over the span of seven decades; from the first involvement in World War 2 to the terrorist attacks and heightened isolation experienced in a 21st century society. Using the knitted community of the outer Melbournian suburbs, the term ‘family’ expands further than just the immediate confines of the household. The four generations of the Westaway family is the focus of the narrative, with first generation Tom and Jean, their children Kip, Francis and Connie; Kip and Annabel Crouch’s daughters Constance (Stanzi) and Charlotte, and then Charlotte’s two children Alec and Libby. The auxiliary characters of Jack Husting and Annabel Crouch also form part of the Westaway family by virtue of their connection to Connie and Kip, respectively. Portraits of the Husting family and the Crouch’s are used as a comparison.

The Westaways are tried and tested as a family unit, first and foremost by the death of Tom Westaway. The absence of the breadwinner in late 1930s would not have been an isolated incident, as more Australian men enlisted in the war effort every day, but the absence of Tom changes the roles within the household and influences the narrative greatly.

Toni Jordan challenges the concept of the traditional family unit, first with the absence of the father role in the late 1930s as a result of Tom’s untimely death but then again with the choice to remove Alec’s father Craig from the household of Charlotte as she co-parents with her sister, Stanzi. It is suggested that there are many ways of forming family combinations but the message is clear: family relationships are positive and nurturing. In the absence of Tom and Craig, strong women within the family (Connie and Stanzi, respectively) must step up to hold the place of parent, the resounding influence the connection of family has on individuals is palpable.

Despite Alec’s admonishment of having ‘smother mother[s]’ raising him, the impact that Stanzi and Charlotte have on Alec is evident in the strength of character Alec displays when he declines the joyride with his friends and ‘the greatest night of my [his] life’ (p 267) in favour of returning the treasured photograph to his grandfather, Kip. Despite an attitude toward his parents, typical of a teenager on the brink of adulthood, he cherishes his mother and soothes her when, upon learning about the car accident, she becomes distraught. Charlotte and Stanzi ‘fill every gap, answer every question’ (p 248), much like Connie, who to Kip is the motherly influence that tends to him and is ‘gentle’ (p 27), becomes a redistributed version of Jean.

In a similar way, Annabel’s premature promotion to the role of caretaker for her unemployed alcoholic father means she must become the financial guardian of the household funds and bolster him in times of his depression.

Although in the more modern chapter of the novel Charlotte and Stanzi live independently as working women of the 1990s, they draw strength from their family. On two different occasions, both women retreat to the family home to seek solace and support from their loving parents, Kip and Annabel.

Traditional family roles are portrayed alternatively in the text, providing examples of individuals assuming caretaking roles when the situation calls for it. It also challenges the notion of the family unit, with the father figure of the Westaway family being absent on more than one occasion (the absences of Tom Westaway and Craig, Alec’s father), placing emphasis on feminine strength and resiliency. By having the two women raising Alec and Libby together, Jordan makes an elusive prediction to same-sex parenting in the near future.

The roles of men and women on the home front are a primary focus in the chapters of Jordan’s novel, tracking the societal changes in opinion toward issues such as premarital sex, illegitimacy and abortion. For the sake of the family reputation, already soiled by the irresponsible death of the drunken Tom, Jean organises a hasty abortion for Connie despite the risks and Connie’s initial refusal. Upon meeting the practitioner, Mrs Ottley, we learn that Jean has used the services before, cementing the frequency of these scenarios. In her mind, Jean downplays the procedure and suggests that seeking an abortion at one time or another in one’s life is simply ‘part of being a woman’ (p 230) normalising the lengths she is willing to go to to save face among the community.

Juxtaposed with Charlotte’s unplanned pregnancy in the latter part of the 20th century, Connie’s choices are more limited than Charlotte’s and although having a child would be inconvenient for Charlotte in her current situation, the option to do so is still presented as viable and a matter of choice. It is Stanzi that highlights this progression in women’s reproductive rights when she reminds Charlotte – ‘your body, your choice’ (p 134) speaking into the freedoms available for women in the present day. In addition to this, sexual liberation is referenced in Charlotte’s chapter when, in search for her mother’s pendant, she sweeps aside a vibrator in her drawer; the message of women’s freedom being key.

The issue of women’s physical appearance is shown to evolve throughout the text also. Although Connie’s haggard appearance is noted after adopting the household duties, working to highlight the sacrifices she made for her family, feminine physicality only becomes the focus in the 1990s, when Stanzi’s language begins to adapt, reflecting her inhibitions about her weight after being insulted by her client Violet Church. In addition, Violet’s superficiality can be gleaned from her reference to the ‘new nail bar that’s opened up in her neighbourhood’ (p 47) and her childlike dancing around the therapy office indicates an immaturity.

Charlotte’s dedication to her body and health however, signifies that the focus for females in modern society has changed and pivots around mental and spiritual wellbeing. Her part time position as a yoga instructor and health food retailer fails to suffice and she compares herself to her twin Stanzi who she believes is ‘going places’ (p 127) and is successful.

In addition, this notion is reflected decades earlier at the dance Annabel attends with Francis. Annabel feels out of her depth discussing fashion with Millie Mathers and Jos, who have long been emancipated from their parents and both work at a store for ladies wear – ‘I’d like to compliment their dresses, but I don’t know what to say. I don’t know how to discuss the fabric of the trimmings. I can’t find words for the colours… they are dresses for drinking sherry in, not pouring beer’ (p 190). This superficiality is confirmed once more through Alec, who upon seeing the photograph of Connie, classifies her by her ‘old fashioned wavy hair and her shape’ (p 258), reaffirming the concept of body image being the focus in the 21st century for both men and women.

The role of men, particularly as fathers, is remarkable in that they are so often absent. Jack’s untimely death in war ensures he had no say as to what happens to his child that Connie carries, and although Craig plays a role in Alec’s life, it is small and insignificant within the text. Alec normalises the estranged relationship his sister Libby has with her brother Ben, who had ‘this whole other family that she visits for two weeks in the Christmas holidays… but that’s it’ (p 248). Coupled with the ineptitude of Mr Crouch and the disappointing demise of Mr Westaway, women rise to the forefront of the narrative.

The question of what it is to be a man is presented through the chapter from Jack Husting, when local townsfolk question whether dissenters are ‘lacking in the spine department’ (p 82), aligning masculinity with warfare. In reality, Jack’s enlistment into the war effort comes with hardly any warning and may very well be a product of society’s pressures on him. Similarly, the gang of boys led by the insufferable Mac make numerous appearances throughout the novel and make both Francis and Kip’s life difficult as children. Even the language of the young boys reflects a masculine ideology that they strive to validate. This concept is reflected when Alec considers joining Tim on the impromptu road trip and urges himself to ‘be one of the guys’ (p 267) and resents being called a ‘pussy’ (p 267) when he rejects the invitation. Alec’s sensitivities on this subject stem from the fact that in the absence of a father figure, Charlotte and Stanzi raise Alec and Libby together and feed into the concept of what it means to be a ‘proper man’.

In a time of crisis, citizens believed nothing was more important then normality and traditions. As a symptom of this preservation of custom keeping up a façade, no matter the situation, became essential. The greatest example of this notion is the hasty reaction to Connie’s pregnancy. Jean’s reflex is to immediately marry Connie off to Mr Ward (whom she assumes to be the father of the child) and then when she learns this is no longer an option, she organises to have the situation handled that very same day. Jean’s meticulously spun web of lies means that both ladies take the day off and make the trip to inner city Melbourne. Connie is surprised they have landed in front of an elegant dressmaker’s, in the nicer part of town – a façade for the clinic. Even Jean suspects Mrs Ottley, who will be performing the procedure, is using a pseudonym.

During the period of the Second World War, keeping up appearances was essential. Annabel’s efforts to continue normality by creating mock meals from the Women’s Weekly Magazine, implies that this was normal practice for lower wage income families. Even Mr Crouch’s admittance that they ‘should draw the curtains… [we] don’t want the neighbours dobbing us in’ (p 176) insinuates that the Husting’s practice of keeping the curtains closed upon learning of their only son’s death, confirmed that raw emotion in a time of such propriety was considered private and a sense of civility, once again, was prioritised.

Indeed, the entire relationship of Jack and Connie is conducted in secret. Their final meeting takes place after dark, when the remaining residents are asleep, as does their only night of passion. Their connection is kept so hidden throughout the text, that even as readers we are unsure of the actualities of their relationship until the final chapter when we are exposed to the carnal truth. Given the death of both Jack and Connie, the only proof left of their connection is the photograph hidden in the back garden of the Westaway family home.

Pretence Quote

‘Look, Annabel,’ Kip says. ‘There’s no point Francis taking back what he said. We’re all so close together around here. There’s no way to keep secrets in those little houses.’ (Kip Westaway) p 203

Throughout the text, Jordan comments on the importance of education and being employed in something rewarding. The obvious example of this is Stanzi, who experiences a life-changing moment when she realises that ‘she can’t do this job anymore’ (p 70) and that catapults her life into a different direction. In addition to becoming fit and healthy, Stanzi takes a job as a personal trainer. In contrast to remedying the mind as she once did as a counsellor, she now spends her working life on the body. The option to do this is available to Stanzi, because she has an education and lives in an era where women were afforded more freedom in their careers; whereas the restrictions experienced by Connie and Annabel reflect the punishment of not being educated and existing in a society that oppresses its women. Even Stanzi’s ‘usual assortment of middle-class, white, usually-but-not-always women with a giddying assortment of suburban problems that usually boil down to one thing’ (p 49) belong in this category; women possessing the luxury to be able to attend therapy with the sole purpose of self-retrospection.

The scholarships awarded to both Kip and Francis are a source of great pride to Jean but Kip’s unorthodox manner sees him removed from St Kevin’s and he automatically falls out of the family’s favour. At times, even Francis mimics the attitude of Jean when she argues it’s a ‘shame not all boys appreciate a good education’ (p 12) and places her hope in Francis getting another scholarship to study law so that he may elevate the family’s reputation in the neighbourhood and secure them economically.

Education Quote

‘Don’t you take that tone, Christopher Luke Westaway,’ Ma says. ‘Francis is shouldering his responsibility, keeping his scholarship.’ ( Jean Westaway) p 12

Moral Values and Choices

The ripple effect of the characters’ choices can be clearly tracked throughout the chapters of Nine Days. M ost of these choices are inadvertently chosen by characters that have no concept that their actions will affect others to the degree that they do. Although there are many different factors that influence characters’ moral values, most notably in the early Westaway family is that of religion. Richmond, much like many areas in the pre-war time is separated into Protestant and Catholic families that live intermingled in the small tenement houses. As the Hustings are Protestant and the Westaways Catholic, any potential marriage between Jack and Connie would have been strictly prohibited and would have caused outrage in the community. It is not surprising that few people are even aware of the connection as the two choose to meet in the cover of darkness to avoid drawing attention – ‘I look each way before I cross the street: a silly gesture. At this hour there’s no one about but him and me’ (p 279). The importance of marrying within one’s family’s religion is reinforced when Emily Stewart is invited to visit in an ill-fated matchmaking session organised by Ada Husting, who praises Emily as a good catch for Jack because ‘the Stewarts go to St Stephen’s’ (p 84) an Anglican Church.

Francis too exhibits questionable moral character, and whilst readers might excuse the juvenile theft of the pendant, the compounding untruths about how he acquired it are much harder to forgive. In the same way, his behaviour toward his brother Kip in the wake of being able to continue his education at the illustrious St Kevin’s whilst Kip cannot, is childish and speaks into the enduring insecurity he wrestles with in the presence of his brother – ‘We don’t want horse manure all over the kitchen. Maybe we should make him eat outside. As befits his station’ (p 10). His behaviour with Annabel however is deplorable, as is the choice he makes to insult her father and the conditions within which she lives. Kip’s ethical behaviour contrasts with his brother’s and as such he is awarded a happy and successful life with the woman he loves.

The morality of the characters defines the choices that they make and many of them suffer the ramifications of these choices acutely. Jean’s decision to protect the family’s reputation from further tarnish is the driver behind her convincing Connie to abort the baby, and she doesn’t hold back in her attempts to try and ‘make her see sense’ (p 220). By likening the ‘state’ (p 221) Tom was in when he died to Connie’s ‘healthy pregnancy’ (p 216), it becomes clear that she, and many others of the era, believe drunkenness and illegitimacy to be equally shameful.

Not all however suffer these effects negatively. For example, although Alec felt shamed when declining the offer for a road trip with his friends, his embarrassment was short-lived when he realises the moral obligation he feels toward Kip, although weighty, is what saved his life.

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An Ultimate Guide to Nine Days by Toni Jordans

Toni Jordan’s Nine Days is a non-linear historical fiction novel that tells the stories of two generations of Westaways, a fictional family situated in Richmond, Victoria. Jordan was inspired by a 1940 photographic collection in the Argus, specifically the photo depicted on the cover, which informs the characters of Connie Westaway and Jack Husting. Like many of the photographs, Nine Days captures domestic spaces, adopting a style of both realism and impressionism to show the experiences of those at home.

The novel also employs a polyphonic structure, fragmenting the story into vignettes that capture nine significant days in the lives of the Westaways and their close relations. Central to the story is the love affair of Jack Husting and Connie Westaway, whose actions and fates influence multiple characters both past and present. Furthermore, many of the vignettes depict significant moments in history, such as World War II, the fall of the Berlin Wall and 9/11, all of which appear in the background and influence the characters’ lives both psychologically and materially.

Authorial Intent

Although the two eras of Nine Days at first appear drastically different, Jordan’s novel primarily invites readers to consider the parallels drawn between the stories. At the individual level, family is shown to create invisible threads that influence one’s identity and life decisions. People often view life as an individual journey guided by personal choices, but Nine Days questions this philosophy and examines how subtle links to strangers can drastically change the course of one’s life. The novel is thus about community as much as it is about the individual. At the social level, readers are also encouraged to observe the continuities and changes that develop between the time jumps. Issues that invite comparison include human conflict, family structures, gender norms, technology, class, and cultural divisions. The author aims to show how certain characters struggle because of the social, political and economic conditions of their time. Hence, the non-linear, polyphonic style of narrative guides the readers in drawing constant comparisons between vignettes. Ultimately, Jordan asks readers to question the dichotomies between individual and community, and between past and present.

Gender Roles (Women’s Agency and Toxic Masculinity)

Nine Days thoroughly examines the consequences of living in a patriarchal society, and how values surrounding gender have changed between the 1940s and today. Characters such as Connie and Charlotte are juxtaposed to reveal how ideas on pre-marital sex, abortion and reproductive rights affect women throughout time differently. Jean above all understands that Australian society in the 1940s would have shunned Connie and her family for her transgressions, noting that “it’s always the women who wear [shame]” (220). Whilst through Charlotte and Stanzi’s dialogue the reader observes that society has changed, it is also evident that the taboos around abortion have not completely disappeared; “No one asks a man if a foetus of theirs has been aborted.” (134). Patriarchal values also negatively impact the men in Nine Days. Jordan particularly condemns toxic masculinity through Jack and Alec’s vignettes, where the men face peer pressure in regards to not being ‘manly’ enough. Where Alec is accused of being a “pussy” for not participating in dangerous behaviour (267), Jack is accused of “lacking in the spine department” for not enlisting in the army (82). In each case, Jordan highlights the negative consequences of strict gender roles and societal pressures.

War and Loss

Although readers never see any first-hand accounts of war, as the text navigates the ‘home’ front, the psychological and material effects of war are constantly emphasised. The imagery of the “holes in the crowd” captures the human loss of war at a large scale, but Jordan also examines personal loss through the grief of the women and family at home. For instance, the death of Jack Husting has a huge impact on the Hustings and Westaways. Some families such as Annabel’s contrastingly benefitted from war, allowing women to work and have an income. The psychological effects of war are also explored in Stanzi’s vignette, which takes place shortly after the events of 9/11. Stanzi’s narration captures the anxiety felt by many following the terrorist attacks. Lastly, Jordan explores the naivety surrounding human conflict; the common perception of it as distant and unlikely to occur in one’s lifetime. Francis, Charlotte, Violet and Alec all make claims about the unlikelihood of war in the future, yet the reader sees most these proven wrong.

Class defines the lives of many characters in Nine Days, restricting agency and opportunity. Jean sees her family as “halfway up the hill” (10), in both a physical sense and social; this means that the Westaways, although fairly respectable, live precariously and struggle to retain their status. They are particularly looked down upon by the Hustings (largely also due to religious differences, which intersected with class at the time), a divide that inhibits Jack and Connie from loving freely. The struggle is also material; Francis compares how Jean “peeled the potatoes” (259) before and after his father’s death to show how little they had afterwards. However, it is evident that through sacrifices and changing times, the Westaways are able to live comfortably in the more recent eras of the novel. Charlotte seems to be the only one struggling financially in her own vignette, as Stanzi is shown to be an educated professional with a “couch” that “cost a fortune” (38).

Ethnic and Religious Divide

Ethnic and religious divisions undergo perhaps the most positive changes in Nine Days. Whilst Australian attitudes in the 1940s were xenophobic, especially towards Asia and Japan, as seen through the constant use of the derogative term “Nips” in the wartime and post-war vignettes, in the 2000s the reader is presented with a very different image. Alec compares Richmond to “Saigon”, hinting at a multicultural landscape that would’ve been unimaginable in the 1940s. Jordan also showcases how religious divisions hurt individuals and communities in Australia during the 1940s. The Westaways are Roman Catholic (and are thus presumed to have Irish roots), whilst the Hustings are Protestants (thus presumed to have English roots). Ava Husting especially expresses prejudices towards the Westaways because of this, refusing to let Kip inside the house. Once again, Jack and Connie suffer the most due to this divide, as it prevents them from creating a respectable union in Ava Husting’s eyes. It is however important to acknowledge that religion and spirituality is not condemned in Nine Days, as it is also represented as something that brings comfort in times of hardship (for example, there are mentions of going to church during war, and Charlotte seeks comfort in her own spiritual practices).

Family ties together the stories and characters in Nine Days, and is for the most part represented as a source of support and joy. It is also represented as a bridge between the past and the present, where individuals influence each other’s’ identities and life choices. The Westaway family is referred to as a “a 3D painting: Escher-style, one layer on top of another, different times, different people” (255), as Jordan aims to remove the dichotomy between individual and community by acknowledging the way family consists of individuals making up a ‘whole’. The novel also tracks the way family values change over time, by depicting a series of conventional and unconventional families (whilst Annabel and Kip create a nuclear family, Charlotte’s own family reflects the changing times). However, family is not always represented in a positive light; Jordan also elucidates how it is possible for members of the same family to appear similar and yet have completely different values. Jack Husting’s relationship with his parents is exemplary of this, but more subtly so are the representations of twin-ship (Stanzi and Charlotte, like Kip and Francis, do not value the same things and see each other as vastly different).

Modernity & Changing Landscapes

Because all of the vignettes in Nine Days are situated in Richmond, Victoria, the text places a strong focus on place, and how it is subject to transform over time. In the early twentieth century, Richmond was considered a ‘slum,’ a highly populated place with many working-class residents. Jean also notes the “dust and soot” that pollutes the area, alluding to the countless factories that were active especially during the war. Jordan thus also explores the anxieties surrounding these types of modern, urban landscapes undergoing rapid industrialisation and technological change. Jack Husting expresses great discomfort towards the city, contending that if people were to leave it their “hearts would open” (74). This anxiety appears once again in the modern vignettes, where Charlotte represents fears towards new technologies (e.g. mobile phones). However, changing landscapes and modernity are also represented positively; Richmond in Alec’s vignette is represented as a modern, multicultural place worthy of admiration.

Love acts as a central force in Nine Days, linking characters to each other through family and romantic relationships alike. Love is represented by Jordan as something that is worth experiencing even when it means transgressing the social expectations of the era. Jack and Connie’s relationship epitomizes this, as the final chapter reveals that despite the consequences the affair brings a joy and happiness (however temporary) that will not be forgotten. The most impressionistic scenes of Nine Days capture moments of love; when Kip admires Annabel against the wall, or when Jack admires Connie dancing – these moments are emphasised by Jordan as the joys of life. Stanzi also compares love to a “coin”, because it connects people to “strangers” they’ve “never met” (69). This is evident in the way both material objects (such as the shilling) and characters (such as Kip) connect the contemporary Westaway characters with characters such as Connie, who would otherwise be strangers.

Social Pressures

Many of the characters in Nine Days experience social pressures, and have significant life-changing moments as a result of these experiences. Social pressure in Nine Days ties in heavily with themes of respectability, status and gender, and describes the ways people are psychologically affected by societal expectations or people’s perceptions of them. Francis and Alec are juxtaposed in their reactions to social pressures; the latter crumbles under the peer pressure and commits a crime that alters his life course, whilst Alec refuses to submit and saves his own life as a result. The women also particularly struggle with social pressures, as seen through Jean and Stanzi, both of whom concern themselves heavily with questions of outward appearances and struggle to retain respectability. It can also be argued that Jack Husting falls victim to the social pressures placed on men to enlist in the army, as Connie later notes “I think he didn’t want to go after all” (211).

Education is one of the minor themes in Nine Days, yet is used by Jordan to elucidate how opportunities and freedoms have been expanded upon since the 1940s. One of the comparisons drawn is between Alec and Connie Westaway, both of whom share a passion for art. Whilst Alec takes school for granted, readers see through Connie the sacrifices that women in the 1940s had to make for their families, education being one. Kip’s comparison of Connie’s hands before and after leaving art school is symbolic of this sacrifice, as her “broken off” nails imply suffering and hardship (28). Jordan also reveals through Kip’s experiences how psychological trauma affects one’s education and opportunities in life; following the death of his father, Kip quits school despite being told by Francis that it would be a mistake.

Sample Textual Analysis:

“I try to imagine it [the Westaway family] as a 3D painting: Escher-style, one layer on top of another…Ghosts walking among us.”

By alluding to Escher’s multi-layered, interdimensional work, Jordan elucidates the function of family and kinship within Nine Days. Jordan’s comparison of the Westaways to a “3D painting…one layer on top of another” allows the reader to picture the family as an interconnected whole, and to thus consider how family shapes one’s values and decisions across time. The spectral imagery of “ghosts walking among us” likewise creates the sense that people such as Connie, Jack and other deceased persons continue to have a presence in the lives of the living, of their descendants.

“It should be all over now…but there are holes in the crowd. People missing who should be dancing and talking and living and breathing.”

Jordan’s use of a polysyndeton in her description of the “missing” soldiers, who should be “dancing and talking and living and breathing”, emphasizes the tragic effects of war for the readership. Verbs connoted with living, such as “dancing”, “talking”, “breathing” couple onto one another in a breathless manner. This invites the readers to see war as an unjust loss rather than as a victory for Australians. The imagery of “holes” in the crowd further paints a literal representation of death, and of the loss experienced by those at home.

“The Americans won’t invade […] we’re evolved […] ‘enlightened’”

Violet Crouch’s assumption that “the Americans won’t invade” creates dramatic irony for contemporary readers aware of the American invasion of Iraq following 9/11. Jordan likewise uses irony through Violet in her claim that humans have “evolved” and have become “enlightened” by past historical conflicts. This allows the reader to conclude that humans have in fact not “evolved” and are not “enlightened,” as Jordan critiques the human tendency to repeat history.

“’A girl photographer.’ He raises his arms and pulls on the clothing line […] ‘That’s stupid’” (98)

Francis “raises his arms and pulls on the clothing line” in-between his claim that the idea of a “girl photographer” is “stupid”. This movement of physically exerting pressure on the clothing line, a stereotypically feminine object, is symbolic of the social pressures exerted by men like Francis in a patriarchal society. The idea that women could not have a career outside of the home or in a manner that was artistic rather than utilitarian is thus presented here by Jordan as one of the many restrictions placed on women in the 1940s.

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Charlotte Westaway Quotes in Nine Days

I remember as a child spending ages every morning choosing which shoes I would wear and then worrying all day about the poor ones left behind in the cupboard, about how dejected they must feel having been passed over. Forsaken.

“It’s not easy, raising children. It’s an enormous commitment. The most important job in the world.”

[Craig] rolls his eyes. “It’s not curing smallpox. It means you’ve fucked someone.”

It’d be different if Stanzi was pregnant. Stanzi’s going places. She has a degree. That dingy little office next to the dentist, that’s temporary. She’s only working as a counselor until she saves up enough to do her PhD. She’s going to be a psychoanalyst, the philosophical, Freudian type, unpicking people’s fears from the inside. She has a proper career plan.

From what [Kip] says, it seems like all kinds of stupid things had to be kept secret back then. When he says that his sister didn’t die from the flu, Stanzi just nods. Charlotte gets on her high horse about ridiculous sexist taboos and lies and nothing to be ashamed of. Grandma [Annabel] smiles. You can’t imagine what it was like back then , she says. So much pain, all covered over.

It seems that all my life I’ve had nothing I’ve desired and I’ve given up having desires at all. Now I know what it feels like to want and I’ll give anything to have it.

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VCE English Texts: Nine Days

• Old/New World Poetry
• Penelopiad/Bombshells
• Taming of the Shrew
• Things We Didn't See Coming
• Women of Troy
• We have always lived in the castle

  Kip, page 201.

“We’re a decent family. We’re half way up the hill. Anyone who takes advantage of a girl deserves the shame of it.”

Jean, page 171.

Jordan, T 2019,  Nine days , Text Publishing, Melbourne.

Richmond Map

Melbourne Publishing Co. (1918).  Municipality of Richmond . Melbourne: Melbourne : Melbourne Publishing Co. Annotations show key places mentioned in Nine Days .

Richmond in the 1930s and 1940s.

• Argus Newspaper Description of the Argus newspaper and its influence in Melbourne. eMelbourne Encyclopedia.

The History Of The Melbourne Suburb Of Richmond.

• Haunting images of the streets that were once home to Melbourne’s slums Herald-Sun article featuring photographs of Melbourne slums in the 1930s.
• Richmond Brief history of the suburb of Richmond. eMelbourne.
• Richmond Images of Richmond from 1930s to present. Victorian Places.
• The Unsuspected Slums Essay and photographs of slum life in 1930s Melbourne suburbs.

In our first film of the series, we bring you the vivid and heartbreaking photographs from our F. Oswald Barnett collection. They provide a rare glimpse into the lives of Melbourne slum-dwellers of the 1930s - and the film also tells a fascinating story about the history of Melbourne's housing reform activism. See link below for the blog.

Examines the impact of the Great Depression on Australian society during the late 1920s and 1930s. This period saw levels of poverty and despair on a scale never before experienced in contemporary Australia. A diverse range of opinions and reflections are presented, providing insights to fascinating aspects of Australian society at the time.

• Slums of Melbourne State Library of Victoria blog article.
• Bread and Dripping (1981) Video - four women recall the hardships of raising children during the Great Depression. Transcript included. Screen Australia
• The Great Depression National Museum of Australia. Overview of impacts of the Great Depression on Australia. Includes images.

Study Guides

• VCE English: List 1 - Novels State Library of Victoria resource - scroll to find the entry for Nine Days.

Be sure to join the State Library so that you can search the Gale Literature databases and JSTOR as there are several good articles about Zola and the T he Ladies Paradise  in these databases. Sign up via the above link.

• Also check your local public library's list of databases and Reference tools for Literary databases.
• Nine Days Litcharts study Guide to Nine Days.

Nine Days - Toni Jordan - VCE ENGLISH HELP, 17 min.

• Text Publishing Teaching Notes Nine Days, book by Toni Jordan n.d., viewed 22 October 2021,
• Nine Days Lisa's Study Guides - includes summary, main characters, themes, ideas, values, literary devices.

Irish & Catholics in Richmond

• The Melbourne Irish Article about Irish immigrants to Melbourne and their descendants. Tinteán – A Magazine for Irish Australia.
• Irish Catholic Australians Information from the Australian Catholic Historical Society.

Ireland's 1916 Easter Rising helped to shape political forces in Australia at a crucial time in our own national history. In particular, the execution of the leaders of the insurrection had a profound effect on Archbishop Daniel Mannix, the man who led Australia's Catholic community. Independent documentary maker Eoin Hahessy captures the mood of the time in this new film commemorating the centenary of these powerful events. 46 min.

• Not in front of the altar - Mixed marriages and sectarian tensions between Catholics and Pr Catholics and Protestants in pr otestants in pre-multicultur e-multicultural Australia University of Woollongong paper about sectarianism and mixed marriages in Australia. This is relevant to the period of Nine Days.
• Richmond Catholic Parish History Parish, RC n.d., St Ignatius' Church, viewed 25 October 2021, . Publication of the Richmond Catholic Parish of St Ignatius and St James.

Women, The Family, Social Life and Expectations

• Social work, the family and women's equality in post-war Australia This article outlines Post World War II Australian society's attitudes to the family and those women who did not conform to the ideal. Women's History Review.
• For Love or Money: Equal pay paradox Video from National Film and Sound Archive shows the attitudes to women's employment in the 1930s. Note the piece work.

• Truth about twins: Do they feel each other's pain, have ESP or share the same DNA? ABC Health news feature about twins.

The Leggett Ballroom in Chapel Street, Prahran in Melbourne, has an extraordinary history as shown in this documentary. It shows the changing social attitudes across several decades. Watch for the War Years era to gain an appreciation of the scene describing the visit of Jean, Kip and Francis.   YouView Australia TV .

Author Toni Jordan

Booktopia Presents: Nine Days by Toni Jordan (Interview with Caroline Baum)

• About Toni Short biography from Toni Jordan's web site.

Toni Jordan introduces and reads from her romantic new novel Nine Days .

• Toni Jordan's Nine Days ABC Radio National program 10 September 2012. Select download audio to play or download the interview.
• Toni Jordan The Garret Podcast featuring Toni Jordan talking about her characters and writing. Transcript available.

World War II

• Home front: Second World War Australian War Memorial site provides information on some of the conditions the Westaways would have faced during World War II.

This BTN special gives a brief history of World War II. We find out about Australia's role in the war and learn more about the bombing of Darwin. We also take a look at the impact World War II had on the world.

• All in—The Australian homefront 1939-1945 ANZAC portal information on the Australian Home Front during World War II.
• Home WWII State Library of Victoria site includes the role of women, preparing for invasion, rationing, the conscription debate and more.

September 11 Attacks

• September 11 Attacks Article and photos from History Channel explaining the events and the Untied States' response.
• 9/11 Memorial and Museum Digital resources provided by the 9/11 Memorial and Museum.
• 9/11 Remembered - Ten Years On ABC News collection of articles about 9/11 on the 10th Anniversary. Includes perspectives of Australians.

A powerful and unflinchingly honest look at what happened after the 9/11 tragedy - a chronicle of life in a changed world. It is 10 years since the age of terror began in earnest. From the moment the Twin Towers fell, 9/11 was seen as a watershed, a historical turning point of epic, irreversible proportions. Since then we've said, again and again, that 9/11 changed everything and that nothing would ever be the same. History Channel 1 hour 21min. 2011.

Women's Reproductive Rights

• Dangerous remedies: ending the horror of backyard abortions The Conversation article shows that experiences similar to Connie's continued through to the 1960s.
• Bertha Coghlan's dumped body found in the Yarra River exposes abortion racket scandal Herald-Sun article describing the case of a 1920s backyard abortion set up.
• Doris' 1936 inquest typical of many The grim history of illegal abortion in Victoria Public Records Office article demonstrates the reality of "Backyard" abortions in the 1930s.
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• URL: https://libguides.gen.vic.edu.au/englishtexts

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Nine Days - Summary Notes

The summary notes for Nine Days cover the following key aspects from the text in detail:

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Nine Days – Insight Sample Essay

Insight Sample Essays are high-level sample essays written by experienced teachers, assessors and experts in the analysis of literature, poetry, film and dramatic texts. Each sample essay shows students how to identify and analyse the explicit and implied ideas, values and themes in each text, and the ways in which textual features create meaning.

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‘Moscow does not believe in tears’: What’s the meaning behind the popular phrase?

Former U.S. President Ronald Reagan “didn’t understand anything” after watching ‘Moscow Does Not Believe in Tears’ (1980) several times ( eight , according to some sources) - the cult Soviet melodrama from director Vladimir Menshov. He explained then that - given the thaw between Moscow and Washington at the time and ahead of his meeting with Soviet President Mikhail Gorbachev - he finally sought to advance his understanding of the “mysterious Russian soul”. Looking back, it doesn’t look like he had much luck. 

At the closing ceremony for the Geneva Summit, Soviet leader Mikhail Gorbachev and US President Ronald Reagan

The movie with the metaphorical title received an Oscar in 1981 in the ‘Foreign Language Film’ category. For several generations after, the movie became a cult classic, with the phrase becoming intimately tied to it in everyone’s minds. But what does it really mean?

Truth about the “cruel” city

According to the story, three young provincial women go to Moscow to enroll at university. They share a single dorm room, determined to attain success in the big city. In the first of the two parts of the movie, Ekaterina, the main character, follows her roommate’s advice by passing herself off as the daughter of a professor and begins a relationship with a handsome Muscovite from a middle class family. She soon becomes pregnant, but once being found out, it leads to him leaving her. 

The second part of the movie, which takes place 20 years later, shows Ekaterina - who has already become a successful woman - having traversed the path from a factory weaver to the director of a large enterprise, having successfully raised her daughter on her own. But, her private life still left a lot to be desired. 

The story of the self-made woman and the Soviet middle class does end happily - in the same place it began: Ekaterina ends up meeting “the man of her dreams”.

To this day, the movie is valued for containing a great measure of truth about life in its depiction of the move to the big city and establishing oneself - the dream of many a provincial person. The methods of conquering said city themselves have not changed either.

The phrase “Moscow doesn’t believe in tears” is spoken whenever someone’s tears, complaints and problems don’t earn the person any sympathy or help. The giant megapolis became emblematic of the phrase.

Vladimir Dal, in his ‘Sayings of the Russian People’ (1989) explains that “you can’t get anyone to sympathize. Everyone is a stranger”. Even back in 1866, in Nikolay Leskov’s ‘Warrior’, the main heroine says the following:

“But, look at my tears, she says. Well, what is there to say, my friend? Tears are tears and I even feel very sorry for you. Except, Moscow does not believe in tears, as the saying goes. [Tears] won’t make you money.”

Tatar tributes

The phrase has even older origins than Leskov’s novel - by about four-five centuries.

According to one version, it appeared in the days of the ancient Russian Prince Ivan Kalita, famous for his awful tributes. It was the 13th century and Genghis Khan’s grandson Batu Khan had just obliterated Russian principalities. It was a time of in-fighting and feudal fragmentation for the Old Rus, with no central authority to speak of: separate from one another, the principal domains vied for influence and territorial control. Oppressed by the Horde, some took on their conquerors in battle, which weakened them even further; others tried to strike deals to rid themselves of the ruinous consequences of constant pillaging.

Reproduction of the miniature "In the reign of Grand Prince Ivan Danilovich Kalita"

One of the proponents of talks with the Horde was Prince Ivan. Having struck a deal with the khan, he would collect as much tribute from the Russian princes as possible, in return for not inflicting punitive attacks on them. According to chroniclers, the new system of cooperation between the Rus’ and the Horde had its fair share of upsides: Tatar attacks stopped for a period of 40 years. In that time, the principalities managed to restore and strengthen, which was enough to mount a resistance and finally repel the Tatars.

However, Ivan Kalita’s tributes drove everyone to desperation. Exact figures are unknown, but historians claim they were comparable to the budget of a small state. Sometimes, in order to collect the required sum, princes had to borrow from merchants, including foreign ones. Many had not managed to repay their huge debts in their entire lifetimes, leaving the rest to their offspring. It would become known as the ‘Bessermen debt’.

Sergey Ivanov. Baskaki, 1909

Kalita, having had this colossal leverage over the other princes, ended up extracting even more money on top of the huge payments - for Moscow’s needs, as the story went. This led to squabbles - people were in uproar at just how far the Moscow prince’s desire for money went. And so, many would descend on Moscow with tearful and impassioned pleas for Kalia to reduce the sums, but Kalita would not be deterred. Moreover, he would severely punish people for their show of discontent, often publicly. That is believed to be the actual origin of the phrase “Moscow does not believe in tears”.

Prince Ivan ruled until 1340 and ended up amassing untold wealth, which he spent on acquiring new lands. By the way, the nickname ‘Kalita’ means “fat wallet” in Old Russian.

Moscow tyranny 

Another version of the origin of the phrase echoes back to the later period of the Tatar-Mongol yoke - the 15th century and the time of Ivan III, also known as Ivan the Great. He earned that nickname for good reason: his main accomplishment was the ending of the Horde’s rule over Rus’ in 1480. 

"John III, tearing up the Khan's letter" N.S. Shustov.

Already during Ivan the Great’s rule, the period of feudal segmentation came to an end, with Rus’ becoming a unified kingdom. Its territory had grown sixfold, becoming larger than any European state at the time. The tsar bought back ownership rights over the disparate lands, attaching them to Moscow - or ended up conquering the ones that refused. Moscow’s main territorial acquisition was the Novgorod Republic. This sparsely populated land, with its natural riches and access to the sea, lost all independence from Moscow after the conquest.

Some historians attribute the saying “Moscow does not believe in tears” to that period, although the expression was slightly longer in those days: “Moscow leads with a toe kick and Moscow does not indulge tears.” To lead with a toe kick was a method used in battle to destabilize an enemy by hitting them in such a way that they lost balance and fell backwards. 

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